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thesinglesjukebox · 5 months

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DASHA - "AUSTIN"

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You mean the Red Scare girl DIDN'T pivot to country?

[5.33]

Andrew Karpan: A thrilling expression of the current state of cowboy country, in the form of a square dance about leaving gentrified Austin to find the real thing in LA. A tale as old as time. [6]

Will Adams: A great setup -- a couple plans to blow this town for LA but he gets cold feet; spurning ensues -- completely fumbled. Between the underbaked narrative (there's barely a second verse to flesh out the story!) and anodyne stomp-clap backing, it's hard to get engaged. Or maybe it's that the main melody kind of sounds like "DotA." [4]

Jeffrey Brister: Nothing here really sticks: a C&W preset backing track, complete with persistent stomp-clap rhythm; lyrics made entirely of country cliche, paired with a vocal performance that gasps every one of them like a revelation; the fantasy that this is the woman who walked out in “Fool Hearted Memory” and thinking he shouldn’t be beating himself up over losing someone so unremarkable; an overall vibe that someone listened to “you should be sorry” then stripped out anything that made it distinctive. The only reason this isn’t lower is because it has a basic sense of craft and professionalism, that cold sleekness one expects from pop music. That’s probably the faintest praise I’ve ever typed out. [4]

Ian Mathers: "Austin" is most definitely pop, but it feels a lot more country than most of the pop-country we get here. The elements I can trace that make me feel that way have occurred in songs I've deeply disliked; the steady, stomping beat, the timbre of the acoustic guitar and other instrumentation, the vocal delivery, the lyrics. And yet here they all coincide in a way that makes me feel like I suddenly get what others see in a genre I mostly can't stand. Even just the contrast between the ache in her voice on the chorus and the brusqueness of "I loved you; how tragic" is knocking me out a little. "Austin" is so good that I'll probably cut the next couple lesser examples of the form a little more slack. [10]

Alfred Soto: Beyoncé got shit for playing with the holy Ark of the country tradition. Here's a better example of 1-900-HEE-HAW. [2]

Oliver Maier: PRO: the hook sounds a bit like "All I Ever Wanted". CON: the rest of it doesn't sound like much at all. PRO(?): Dasha is a funny name for a country musician. [4]

Nortey Dowuona: A pivot toward country as it swallows up the massive gap in streaming that rap left behind is a savvy and novel move, since Dasha's album Dirty Blonde had no actual hits nor any mentions except by yours truly. The holding place for "Austin" is What Happens Now, a completely forgotten album from February of this year that can now gather whatever halfhearted extra streams that trickle back from this song. But Dasha herself is a mystery: a bold but anodyne voice that holds the heavy guitar lick at bay. Lyrics like "hell of a bluff, you had me believing/how many months did you plan on leaving?" are cutting enough but don't stick deeply or produce an interest in the voice that carries them. [6]

Taylor Alatorre: For such a hard-to-screw-up premise, the narrative is surprisingly wobbly -- if she doesn't know where the guy went or why, how does she know he's in Austin at all, much less whether he'll still be planted there four decades from now? Dasha could have wrung some pathos out of the scenario by zeroing in on the most maddening aspects of being ghosted: the nagging uncertainties and never-to-be-answered questions brought to the fore. Instead she tramples on whatever relatability she built up elsewhere by strutting cockily into the end of the chorus, going for the rhetorical kill shot at point-blank range, and missing. [3]

Katherine St. Asaph: The backstory is ambiguous, frustratingly so -- if she's going back to LA, what was she doing in Austin, and why is she talking about it like it's her dead-end childhood town? (When was the last time Austin qualified as a dead-end town? It barely even qualifies for Keep Austin Weird anymore.) Why is the ex in the mix, even as an excuse -- is she a rebound? The other woman? If his shit was never packed, presumably he'd be coming home at some point to get it? (Whose home is this, even?) But wondering what the fuck even happened here, accidental or not, at least makes sense for a song about wondering what the fuck even happened here. And despite not being originally country -- her older stuff approaches The Fame -- Dasha takes to the genre with enough Kelsea Ballerini-ish pluck to sell whatever the fuck that is. [7]

Iain Mew: The strings are the most exciting musical element of "Austin". They also form a promise that it doesn't deliver on: there is no accelerating intensity, and the only part of the song where the music gets to run away has already happened when the strings come in. The chorus ends with what could work as a kicker, but the song peters to a stop with "did your ex find out?" sung with no emotion in any direction. The saving grace is that the musical choices could not be any more thematically appropriate: a song about a confusing anticlimax, structured as a confusing anticlimax. [6]

Alex Clifton: The chorus is great, but the chorus is the only part of the song that has any meat to it. At the very least this needs some kind of bridge to prevent the entire thing from sounding so samey. It's a shame, because with a little more finessing, this could've been something neat. I feel so old bemoaning the "TikTokification of music," but that's what "Austin" is: the snippets that sound excellent will end up going viral, but there's nothing else of substance. Maybe her next song will have more than a Dasha inspiration (sorry). [4]

Jacob Sujin Kuppermann: Something uncanny valley about this – the handclaps are too quantized, the guitar parts too clean in the mix, Dasha's rhymes a little too perfectly posed. Pristine country pop about leaving and cowardice is a long and beautiful tradition, and I'm not begrudging anyone who tries to invert "By the Time I Get to Phoenix" in gender/sentiment/compass direction. But "Austin" lacks a certain aplomb -- the confidence in one's messy choices that would give this the lived-in quality that it so desperately is missing. It sounds like a flight, not a road trip. [4]

Joshua Lu: There's a legitimate sense of spite and bile in the lyrics, with a would-be empowering perspective of a woman determined to move on regardless of whatever's stopping her lover from committing. Dasha's flat delivery belies the premise, though; the song frowns instead of sneers, and the impact is lost. [4]

Mark Sinker: Dasha’s rage is focused and pure and justified, though she very much cannot make this guy seem like a worthwhile proposition: His boots that stopped working are those blobby red cartoon ones that MSCHF put out into the world last year, and then his Cybertruck broke down on some easily traversed dirt road really not far out of town. Ka-clippety-clop ka-clippety-clop, and the disgusted mockery boomerangs back (as she well knows) at her. And that’s reality. [8]

Isabel Cole: Bings to life the starry-eyed exuberance of planning an escape just long enough to make it feel like she lost something real. Closing the moment of revelation with “Your shit was never packed” is a devastating touch, nicely paid off later as she wonders, “How many months were you planning on leaving?” It’s not just their dream she has to say goodbye to; it’s the illusion of the person she thought she knew, the man who played along without ever intending to follow through, a betrayal worse than mere cold feet. In the chorus, playing the hitch in her voice for all it’s worth, she runs through options she knows she’ll never get closure on, one after the other like signs on the highway. By the end, I believe her that she’ll forget him, but—crucially for the song to work—I also believe she hasn’t yet. [8]

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buzzcutlip · 12 days

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Cracks and Gaps - The Waterfall (part II) Carmen Berzatto x Fem!Reader Mature (Explicit in the following parts) 6573 words

You meet Carmen in Copenhagen through a mutual friend and bond over shared experiences. After following his rising career from afar, you reconnect in Chicago when he renovates his late brother’s restaurant. As an editor, you can’t miss an opportunity to find out more about the comeback of this chef prodigy. part I The Worst Day

A/N: The angst continues and morphs. This part is full of fashion, understanding and soft words. Thank you Amy @foreveraimingtowardsthesky and E @butchcarmy for giving me the confidence to write and to publish this :) (Also reader is reffered to as someone who blushes, in case you would like to know this ahead of deciding to read the story)

THE WATERFALL

You want so badly to forget the fight, but instead, you keep replaying it in your head over and over, until it feels like a movie you saw on TV or in a cinema. Like it wasn't really you Carmen was shouting at. You try to comfort yourself by imagining what you should have done in that moment—anything but nothing, like you actually did. But at least you stood up for yourself. That’s somehow comforting.

The way forward is to go—to leave. To remove yourself from the situation and find a new environment that has nothing to do with what happened. For the weekend, you take a long-postponed trip to Seattle. People envy you for traveling to fancy places for work, but to you, it’s just that—work. This time, though, you’re unusually eager to get on the plane to another state. Nothing in Washington is going to remind you of Carmen Berzatto, you hope. The plan is to try a luxury wellness retreat for women in tech and business at Salish Lodge by Snoqualmie Falls. You’re not in tech or business, but the place paid the magazine to review the program, so you couldn’t really say no. There’s a "pillow menu for the best night’s rest" and a "Canna-bliss CBD natural ritual" option, so you’re not complaining. To escape the busy networking event on Saturday, you sneak out and walk to the top of the falls, take a deep inhale—just as you practiced during that morning's yoga class—and shout into the void, letting the roar of the water swallow it all.

There’s so much pent-up energy in you that you start to worry you’re scaring all the Zen businesswomen around you. During a workshop, you realize that most of them are your age, or even younger. They have careers, partners, and some even have kids. It sucks, being reminded of what society expects from you when you’re thirty.

When you get back on Tuesday, the office clerk tells you that someone was looking for you on Monday. Not thinking much of it, you sit down at your desk to start working on your piece about the trip. It’s scorching outside—concrete city in July is unforgiving—and you’re grateful for the office's functioning AC.

The next time you check the clock, it’s already noon. You stand up to stretch and grab the empty mug on your desk. It was a silly gift from your parents when you first got this job—white with a black handle and a funny picture of a green pickle with a face that says "It’s kinda a big dill." As foolish as it sounds, drinking coffee from this mug always makes you smile.

As soon as you step out of your office, Dasha, the desk clerk, waves you over. Even sitting, she’s tall, her head and upper body towering proudly over the counter. She always wears amazing glasses.

“I love your glasses,” you say, complimenting her tortoiseshell frames.

“Thanks,” Dasha smiles. “You have a visitor. I was just about to call your desk.”

The blood in your veins seems to stop. You turn your head toward the guest sofa by the elevators. There’s no doubt who the visitor is.

“He said his name was Caramel—Carmel? Sorry!” Dasha fumbles with the name, blushing and nervously fiddling with her pen. “I should’ve written it down!”

Of course, it’s Carmen.

“You’re fine,” you assure her with a quick smile. Taking a very, very deep breath, you ask sweetly, “Could you send Caramel to meeting room three?”

‘I’m so Zen,’ you tell yourself as you walk to the kitchen, giving Dasha and Carmen a few minutes. If you’re going to meet him, it’s going to be on your terms, you decide standing by the fridge. Or, hiding by the fridge?

Wearing a summery yet elegant dress, heeled clogs, and your hair up, you look nothing like you ever did at The Bear. You’re pleased to discover, just before opening the door to meeting room three, that the tight feeling in your stomach isn’t just nerves—it’s also a bit of excitement and confidence.

The frosted glass door closes behind you, and you watch as Carmen’s eyes land on you. He’s already seated in one of the uncomfortable white plastic chairs, and now he’s looking at you. His gaze drops to your legs, where the frilled hem of your dress stops just above your knees, then to the mug you’re still holding, though it’s empty.

“Hey,” he greets you, shifting as if he might stand up. You sit across from him, setting the mug on the table.

“Hi,” you reply, curious about what he’s going to say. You’re fairly sure he’s here to apologize, probably sent by Natalie and Sydney—maybe even Richie—to make things right. You had texted Natalie to say you needed to focus on your "real" job as an excuse to avoid going back to the restaurant. Now, you wish you had told her the truth.

“I brought you something,” Carmen says, awkwardly pulling out a paper bag. “Thought you might be hungry.” He hesitates, then adds, “It’s smoked mozzarella mezzelune.” When you don’t make a move to take it, he places the bag back in his lap.

Leaning back in your chair, you fight the urge to cross your arms. You probably feel as out of place as he does right now—but you’re not about to let him see that.

“We didn’t have to meet here,” he says, glancing nervously around the room. “I just wanted to bring the food.”

You blink a few times, wanting to make him even more uncomfortable. “You could’ve left it at reception,” you say calmly.

Carmen rubs a hand over his face and purses his lips. “About before—the recipe. It was all bullshit.”

You grimace. That doesn’t sound like an apology. You're starting to lose faith that Carmen is even capable of one. Disappointed and at a loss for words, you scoff, and Carmen’s eyes dart back to yours. He looks almost offended, which really pisses you off.

“Bullshit,” you repeat, your voice steady. “I’m not interested in this, Carmen,” you say, meeting his gaze without wavering. “Go to hell with your food.”

He looks down, fidgeting with the paper bag. “I’m terrible at this.”

“Terrible at what? Apologizing? Well, it’s past time you learned.”

The urge to shout at him is strong. You want him to feel as humiliated as you did. But you won’t. He spent his whole life in an environment where people yelled for different reasons—or no reason at all. That’s not your style.

Not expecting anything else from him, you push your chair back, the screeching noise cutting through the tense moment, sending a shiver down your spine.

When Carmen suddenly stands as well, his chair scraping even louder, your heart jumps. You gasp, nearly sick from the fright.

“I—I also came to tell you that I’ll do it,” he stammers. “I’ll do the interview.”

You study him for a moment. Is he serious?

“This isn’t what I want, Carmen,” you say, shaking your head and rubbing your wrist. “Why now?”

“I talked to Syd and the crew. It’s the right thing to do. Right for the restaurant.”

He’s sincere, as far as you can tell. His eyes look huge, and that tortured artist look is back. A martyr. How much does he enjoy playing that role?

“Please, don’t ruin my Zen,” you say quietly, not wanting to return to how you felt a few days ago.

“I’m not interested anymore,” you add, praying Rob won’t find out and fire you. “Dasha will see you out. Or you can take the elevator.” The condescension in your voice is clear, but you’re not sure if Carmen even notices.

—

For the next two days, you decide to work from home and mope. Calling Becky isn’t an option because she would probably go talk to Natalie and tell her everything. The feelings of anger and humiliation are mixing within you, and you don’t know which one makes you more miserable.

When you get back to work, Rob calls you over to his office. Shit, you think.

You walk in with a smile and confidence—fake it till you make it. The usual clutter of papers and magazines is still there, but Rob himself seems unusually animated, almost buzzing with excitement. He waves you in, barely able to contain a grin. “Take a seat,” he says, his tone a little too eager.

You sit down cautiously, trying to gauge what's coming. Rob leans forward, resting his elbows on his desk, and you can see he’s practically bursting to share something. “So, I got a call this morning,” he starts, and you immediately feel a sense of dread creeping in. “It was from Natalie, the manager over at The Bear.”

Your heart skips a beat, but you force yourself to stay composed. You nod, prompting him to continue. “She told me that Carmen Berzatto—yes, that Carmen—wants to do the interview and a photoshoot,” Rob says.

“A—a photoshoot?” you stammer. “Is this the same Carmen Berzatto?” God, you couldn’t imagine Carmen wanting to be a center of attention like that. He would probably die right on the spot.

Rob ignores your snarky remark—as he often does—leaning even closer, his excitement palpable. “And get this—he specifically requested that you be the one to do it.”

He pauses, waiting for your reaction, clearly expecting you to share in his enthusiasm. But all you feel is a mix of shock and apprehension. “Rob, I—” you start, but he cuts you off, too caught up in the moment.

“I mean, this is huge!” he exclaims, practically bouncing in his chair. “The Bear is blowing up, and an exclusive like this could improve all the important numbers for us. And he wants you—he’s insisting on it! Do you have any idea how big this could be for your career?”

You do, of course. An exclusive interview with Carmen could put you on the map in a major way. But all you can think about is that last encounter in the meeting room, the awkwardness, the unresolved tension, and the anger laced in bitterness you thought you had finally let go of. Rob notices your hesitation and softens his tone, though his excitement is still simmering beneath the surface. “Look, I know there’s some history here,” he says, a bit more gently. “But this is a massive opportunity. And honestly, if Carmen wants you specifically, there’s something there. He’s not the type to just pick someone randomly, right?”

You shake your head and swallow hard, your mind racing. The offer is tempting, the kind of opportunity that doesn’t come around often. But it also means facing Carmen again, reopening wounds you thought were starting to heal but ignoring the issue—the healthy way, you think bitterly. But also, you would need to contact Nat and Sydney again about your place in The Bear, which you’ve been putting on hold for a long time now, in internet terms.

Rob senses your inner turmoil and leans back, giving you some space. “I’m not going to pressure you, but I really think you should consider it. We could make this the cover story. It’s that big.”

The room is silent for a moment as Rob waits for your response, his eagerness practically vibrating off him. You’re absolutely sure that if you don’t agree to this project, Rob will ask another editor, or even hire a freelancer. As much as you want to be offended a bit longer, letting it simmer inside you, you also want to do this with The Bear staff. As Natalie must know—this is all her doing, after all, you suppose—the visibility for the restaurant is going to be huge.

You take a deep breath, trying to steady your nerves. Then, you make your decision. “I’ll do it,” you say, your voice firmer than you expected.

Rob’s face lights up instantly. “That’s what I’m talking about!” he exclaims, practically beaming. “I knew you’d come through. This is going to be incredible, I can feel it.”

His enthusiasm reassures you, and for a brief moment, you let yourself feel excited, too.

Rob starts rattling off details, already planning how to make this the magazine’s biggest feature yet. “We’ll do a full spread—interview, photoshoot, the works. We can even tie it into some of the broader trends in the culinary world. This could be huge!”

You nod, letting his words wash over you, but part of your mind is still focused on the impending meeting with Carmen. You pretty much sent him to hell. How will you handle this?

“Let’s get the ball rolling,” Rob says, snapping you back to the present. “I’ll coordinate with Natalie to set up the interview. We’ll get the photographer involved, and I’ll make sure you have everything you need.”

“Thanks, Rob,” you say, managing a small smile, not mentioning that you will get in touch with Natalie too. “I’ll make sure it’s worth the hype.”

“I have no doubt,” Rob replies confidently. “This is going to be something special.”

As you walk out of his office, the reality of what you just agreed to starts to settle in. You’re going to see Carmen again, face to face, in a setting that’s as personal as it is professional. It’s also a chance to prove to yourself that you can handle it—and maybe even come out stronger on the other side.

The nerves are still there, but so is a newfound resolve. This is your story to tell, and you’re ready to own it.

---

Naturally, you had to tone down your emotions in Rob’s office, as he didn’t know anything about your work you had done for The Bear or the situation with the chef himself. The need to show off your professional skills, both to Rob and Carmen, won. Natalie nearly pisses herself—her words, not yours!—when you confirm the news over the phone. She shares with you that it actually was Carmen’s idea to do the interview, supported by Sydney and Richie and Tina and everyone. The shoot not so much, but he’s gonna do it too, she says, and you can hear the mischievous smile in her voice.

The photoshoot is set to happen in a studio your magazine usually uses for smaller productions, as it’s only Carmen you need to get. Rob informed you that he had sent a photographer to The Bear earlier, so the photos from the place, as well as photos of the team, are already done. You know this from Natalie and Sydney already, who thanked you probably more than a million times for “arranging this,” but in front of Rob, you play guileless.

It’s awfully quiet in the room when you enter, the swinging door swooshing quietly behind you. No wonder. The shoot had to be planned on Sunday—the only day Carmen’s not at work, which has been met with not very enthusiastic responses. There’s no music playing, which is very unusual.

The studio has high ceilings and large windows that let in natural light. It obviously used to be a factory, now rebuilt into a fancy, modern building with that historic edge. You’ve been here a couple of times before.

You spot the photographer, Elena, adjusting her equipment with the precision of someone who knows exactly what she’s doing. She smiles at you and you give each other a quick hug. With a shoot this small, there’s no one doing production, as you’re using the magazine’s regular talents. As much as you want to stall, you know that Carmen must be sitting on the make-up chair, very probably freaking out. It’s a bit unpleasant, but the fact that he’s more uncomfortable than you here makes you feel better, helps you calm your nerves down. The situation is similar to the one in the office a few weeks back, and you realize it’s more your confidence than maliciousness.

Your steps echo as you walk around the corner to the make-up and hair spot by one of the big windows. Carmen’s just getting up from the high chair, his posture screaming uneasiness.

“Hi Margot,” you say to the make-up artist with a piercing in her eyebrow. She’s younger than you, so you get why she thinks that the 00’s are so cool, since that’s probably when she was born.

Then the spotlight is on Carmen and you, and it takes you both to the moment when you approached him outside of The Bear months ago.

Carmen stares at you without blinking, probably relieved to see a familiar face, and also terrified, because it’s you. It’s crystal clear he doesn’t know what is appropriate for him to do in this setting.

Deciding quickly, you move towards him, giving him a similar hug as to Elena—quick, light, and impersonal. When you feel his palm press against your lower back fleetingly, the touch immediately makes you shiver, unfortunately not completely in a bad way, but you don’t have the time to ponder.

“I’ve just fixed his hair a bit and covered some bits here and there,” Margot explains, already cleaning her brushes. You notice immediately that Carmen’s curls are more defined and softer looking. He also appears less tired, but that’s surely due to Margo’s concealer magic.

“Thank you, Margo, that’s perfect,” you say as Carmen stands unmoving.

“Carmen just needs to moisturize more,” she adds cheekily, giving Carmen a wink over her shoulder.

You suppress a laugh. You’re absolutely sure Carmen has no idea what moisturizing or face cream means. He’s as lost here as you had been in the Bear's kitchen.

“Uhm—” Carmen makes an unsure noise, his hand reaching up to his hair, but Margo interrupts him:

“No touching!” she says hurriedly. “Not until the end of the shoot.”

You laugh for real now.

“How is it looking, guys?” Elena calls from the other side of the studio, checking on you.

“We’re fine. Carmen’s about to get changed, so you can get ready, El.”

You turn back to Carmen, who’s checking the studio with a mix of hesitance and curiosity. He’s dressed in light blue denim—unusual—and a gray jumper you’ve seen on him before.

“I’ll help,” you assure him. As the stylist is absent, you promised Rob that you would give a hand on the shoot. Besides, some selected garments are meant to be ready, plus you know they had asked Carmen to bring some of his stuff. “Follow me.”

Disappearing behind a screen that creates a changing space with clothes and steamers, you come properly face to face.

“Hey,” you say, unable to think of anything better. Your voice remains steady despite the slight flutter in your chest.

“Hey,” he replies, offering a small, almost uncertain smile. He glances around, taking in the unfamiliar setting. “This is… different.”

“Yeah,” you agree, gesturing to the setup around you. “But it’s all about making you look good.”

Carmen chuckles softly, the tension in his shoulders easing just a little. “No pressure, right?”

You smile, unable to play the Ice Queen anymore, and for a moment, the awkwardness between you dissipates. “Let’s get started.”

Carmen glances at you, seemingly reassured by your calm demeanor, even if he’s out of his element. You walk over to the clothes neatly hung on a rack. Immediately, you spot the cool embroidered Bode jackets, simple Carhartt pieces, more tailored Ami Paris clothes. There’s Maharishi and PAM too, probably included by the stylist based on your comment that Carmen likes the workwear style, though they are a bit too colorful.

You tell Carmen a little about every brand, trying to get him out of his head and focus on something else. To give him a taste of the world of magazines, media, and fashion. Similar to what he had done for you in the restaurant—when he was in a mood to talk about his dishes, ideas about combining ingredients, and crafting new flavors.

“What about this?” you suggest, handing him a soft, tan brown Carhartt WIP suede jacket. You know that Carmy knows Carhartt because you’ve seen him in their clothes, and you also know that he’s a big denim head. This garment will also help him not to feel as exposed in front of the camera at the start.

Carmen takes the jacket, his brow furrowing slightly as if he’s analyzing every stitch. He slips it on, and you can’t help but note how well it fits him. Natalie nailed the sizes of his clothes perfectly.

You go wait for him at the spot that Elena has set up, Margo already waiting there too, in case any adjustments to the hair are needed during the shoot. When Carmen finally walks over, Elena gives him a reassuring nod as he takes his place in front of the camera, hands in the jacket’s pockets. You watch from the sidelines, a little amused but mostly impressed at how the whole scene has come together. The large windows bathe the room in soft, natural light, casting shadows that play off the industrial vibe of the studio.

Carmen is nervous—anyone can see that—but he stands tall, doing his best to follow Elena’s quiet directions. You watch the laptop screen from the corner of your eye, where all photos appear after Elena presses the shutter, frame after frame. Carmen’s unease is apparent, and for a second you wonder if this really was such a good idea after all.

After another five painful minutes, it’s clear that it’s not getting better. You share a quick look with Elena and say, “Could you put some music on, girls?” Then, turning to Carmen, you add, “I think we can change the outfit now,” you say easily.

You go back to the styling corner, Carmen following you. When you’re both hidden again, you glance at Carmen whose whole body is stiff, discomfort oozing off him.

“This is really not so bad,” you start, but Carmen shakes his head, running a hand through his hair, messing it up in a way that would drive Margo mad if she saw it.

“I’m a chef, not… this,” he says, gesturing to the setting. “I’m not supposed to be in front of cameras, doing interviews, pretending like—like I fucking know what I’m doing. This is all bullshit.”

You take a deep breath, trying to figure out how to reach him. You’ve seen him under pressure before, but this is different. This isn’t about the restaurant; this is about him feeling out of place, exposed.

“Carmen, you’re right. You’re a chef, and a damn good one,” you say, keeping your tone calm and reassuring. It’s strange to be this way for a person who you’ve only ever seen confident and sure, except for what happened in the office two weeks ago.

“But this is part of it, too,” you carry on, trying to catch Carmen’s eye. “People want to know the person behind the food. They want to see the passion, the creativity. Even the struggle. That’s what makes the Bear special—it’s you.”

He looks at you, eyes filled with doubt. “But what if… what if they see through it? What if they realize I’m just faking it?”

You step closer, close enough to reach out, but you don’t. Instead, you offer him a small, genuine smile. “Then they’ll see that you’re human, just like the rest of us. And that’s okay. You don’t have to be perfect, Carmen.”

He closes his eyes, exhaling slowly, trying to steady himself. “I don’t know if I can be that guy.”

“You don’t have to be anyone but yourself,” you reply gently. “And if you’re not feeling it, we can stop. We don’t have to do this. We could just use the pictures from the Bear.”

Carmen opens his eyes and looks at you, something shifting in his expression. It’s still a mix of fear and doubt, but there’s also a flicker of determination. “You really think I can do this?”

“Absolutely,” you confirm with deadly certainty.

The next moment, “1972” by The Smashing Pumpkins starts playing from the speakers in the studio.

Carmen surprises you by taking the initiative and choosing the clothes by himself. You turn when he starts shedding the jacket. Instead, you hang it back on the rack, needing something to do. When the rustling stops, you face the chef again. He’s wearing a pair of vintage Levi’s and a striped sailor crew neck. He looks good in the dark colors.

“Yeah?” he checks, trying to gauge your reaction.

“Yeah,” you nod, hoping it’s not obvious how much you like what you’re seeing. “Yeah.”

Gathering your courage, you reach to roll the sleeves up, exposing Carmen’s forearms, then move up to straighten the seams on his shoulders. You catch his gaze and this time, there’s a flicker of something—perhaps gratitude, or just recognition that you’re both navigating unfamiliar territory. Not just here, on the set, but also between you. You’re discovering another layer of your relationship, perhaps sensing that at this moment, you have the upper hand.

Carmen's expression softens from that tight apprehension to something more open, more trusting. “Thanks,” he says quietly, then looks down at himself, as if trying to imagine how he’ll appear in front of the camera now.

You step back slightly, giving him space, but also giving yourself a moment to collect your thoughts. The tension between you feels different than before, less about awkwardness and more like a mutual acknowledgment that neither of you has the playbook for this. And yet, you’re figuring it out together.

“Here,” you point Carmen to a big mirror in the corner, and he checks the reflection.

“I think I like it,” he says after a moment, and you give him a thumbs up, the silly gesture completely honest.

Back on set, with the music playing, the atmosphere lightens. Carmen doesn’t smile, but there’s a shift in the way he carries himself. He seems more settled in his skin, the dark colors enhancing his quiet confidence. Elena notices the difference immediately; she barely needs to give direction this time. He’s still far from relaxed, but there’s an authenticity in the way he stands, his gaze steady.

The photos start to reflect that subtle transformation, and you feel a tremendous sense of relief as you watch them pop up on the screen. Watching him, you feel an odd sense of pride. This isn’t just about Carmen being in front of the camera; it’s about him facing something that makes him uncomfortable and pushing through it, allowing himself to be vulnerable in this position. If you’re completely honest, you’re surprised that he’s willing to go through with this.

Elena seems pleased, giving Carmen a reassuring nod after every few clicks of the camera. When she finally steps back and lowers her lens, you see Carmen visibly exhale, tension easing from his frame.

“That was good,” Elena praises, glancing at the screen. “We’ve got some solid shots here.”

Carmen looks over, seemingly a little surprised, like he wasn’t quite sure it had gone as well as she said. “See?” you say, nudging him gently. “You nailed it.”

Carmen gives you a small, genuine smile this time. “Maybe,” he says, scratching the back of his head, messing up his styled hair.

After the third outfit change, Rob shows up, as planned, alongside the magazine’s publisher. As this had been arranged before the shoot, you hope it doesn’t throw Carmen off balance too much.

Luckily, Carmen slips into his professional chef mode as Rob greets him, calling him “Chef,” and thanking him sincerely for the opportunity. Rob shoots you a happy grin over Carmen’s shoulder.

The final outfit is dark gray tailored wool pants and a simple white tee, similar to what you know as Carmen’s daily uniform—probably why he chose it. You suggest adding a nice leather belt with a silver clasp to complete the look. Elena positions Carmen on a high stool this time, changing angles and perspectives.

For the first time today, Carmen looks truly at ease, despite the additional onlookers. You know Rob is looking for the perfect shot for next month’s cover.

Elena captures a few more shots before lowering her camera. “That’s it! We’re done,” she announces, a smile of satisfaction on her face. “Carmen, you did amazing.”

Carmen slides off the stool, his shoulders visibly relaxing as the weight of the shoot lifts. He looks over at you, a small, almost sheepish grin playing at his lips. “That wasn’t as bad as I thought.”

You laugh softly, walking over to him. “Told you. You nailed it.”

Rob joins you and Carmen. “Chef, you were great today,” he says, clapping Carmen on the shoulder. “Can’t wait to see the final shots.”

Carmen nods, clearly more comfortable now that the shoot is over. “Thanks, Rob. I appreciate it.”

Rob turns to you with a grin. “You too. Thanks for making this happen.”

You nod, feeling a bit of pride at how smoothly things turned out. You’re careful not to jinx it—after all, the interview is still looming in the second half of the day, after you’ve had something to eat.

For the interview, you and Carmen sit down in a corner of the studio that’s been set up to look more intimate—two chairs facing each other with a small table in between. Your notebook rests on your lap. Elena is supposed to take a few shots of the formal interview, and now it’s your turn to be nervous. Very nervous.

You did an extensive amount of research and preparation for the article, keeping in mind your personal history with Carmen. He’s not just another personality you’re interviewing. He’s a guy you once knew. A chef at whose restaurant you had worked, or volunteered. These facts leave you feeling like you’re balancing on a thin rope, and you’ve spent a lot of time thinking about how to approach the interview. In the end, you decide to let Carmen set the tone. He could keep it personal or strictly professional.

“How did you enjoy the shoot?” you ask with a mischievous smile, starting off lightly. You don’t need to check your notes for that.

Carmen smiles, rubbing his lips with his fingers. “It was a new, interesting experience. I’m afraid I wasn’t very good, but I hope you’ll be able to find a couple of decent images.”

“And one excellent for the cover,” you add, careful not to interrupt him.

Out of habit and nervousness, you adjust the recorder on the table between you, making sure it’s on. Then you glance at your notes.

“When we met in Copenhagen ten years ago, you were staging at Noma. How do you look back on those times—when you were at the beginning of your journey but already experiencing the kitchens of the world’s best restaurants?”

It takes a moment before Carmen responds. “I was very young and very lucky. I took every opportunity that came my way, worked hard—harder than most—to learn and grow, and hopefully to stand out.” Carmen’s words are measured, careful. “Noma was my first experience outside the US, and it was intimidating. But also—it’s an incredibly peaceful and inspiring place. I loved every moment there. It also helped that I knew someone familiar in Copenhagen. That definitely made me feel less alone.”

You catch yourself staring, a warm feeling spreading through your chest—liquid heat filling every corner. You imagine this is what drinking Felix Felicis must feel like. You smile, and Carmen returns it with a quick smile of his own.

Clearing your throat, you prepare for the real questions, the ones that have to live up to everyone’s expectations—Rob’s, Carmen’s, and mostly your own. As the interview progresses, you feel a shift in the atmosphere. The initial tension has faded, replaced by a sense of collaboration. You’re both here for the same reason: to tell a story that matters.

You ask Carmen about his journey in the culinary world, the chefs he’s worked with, and the chefs he looks up to. You discuss diligence, innovation, and respect. You briefly touch on the topic of Michael and Carmen’s family, letting him decide how much he wants to share.

“You can be more or less fortunate with the starting position you get in life. That’s out of your hands. But the rest is in your hands. There’s no point in thinking about how others might have it easier—it will only paralyze you, trust me. You have to focus on what you can do, what you can change. Take the little you have and turn it into everything you have. Be proud of it. Stand up for yourself. Value yourself, but also others.”

His words are thoughtful, and you can tell he’s reflecting deeply.

There’s a pause, and you realize he’s waiting for your next question. You nod, acknowledging the weight of his words. Carmen answered everything with a mix of humility and passion, offering you—and the audience—glimpses of the person behind the chef: the struggles, the doubts, the relentless drive to succeed.

You glance at your notes, then back at him.

“That’s it. Thank you for taking time out of your busy schedule to share a glimpse of your life and The Bear’s story with Taste readers,” you say, finishing with a cheeky smirk, hoping Carmen knows you’re sincere.

Carmen chuckles at your tone. “Thank you for having me,” he replies, smiling with that familiar mix of modesty and quiet strength. “It was a pleasure to talk. Hopefully, your readers won’t be too bored.”

You laugh lightly, shaking your head. “I doubt that. If anything, they’ll be more intrigued than ever. You’ve got a story people want to hear—and not just about the food.”

He raises an eyebrow, studying you. "Well, that’s good to hear."

You stand up and reach out to shake his hand, a gesture of thanks and closure. He takes it, his grip firm but gentle. Then Rob approaches with more handshakes and thanks, joined by Mrs. Sullivan—the publisher. You quietly slip away, not wanting to disturb their networking, and head over to thank Elena and Margot, who have already packed up their gear while you were interviewing Carmen.

“You guys are cute together,” Margot teases, winking at you. “I didn’t know you actually knew him knew him.”

You absolutely do blush, and Elena adds, “Totally,” giving you a sly grin. “He IS cute.”

“You should see him in the kitchen,” you grumble, shoving your notebook into your tote bag to hide your flushed face.

Suddenly, Carmen appears next to you, having parted ways with Rob and Mrs. Sullivan, who likely have better things to do on a Sunday. “You did good,” he says quietly, almost as an afterthought, as if offering reassurance you didn’t know you needed.

Your chest warms again with that liquid heat, a mix of pride and gratitude blooming. You offer him one last, genuine smile.

“Thanks, Carmen,” you reply softly.

“Actually,” he begins, looking nervous again, hands on his hips, “I—I wanted to talk to you. If you have time now?”

He glances back at Rob, but the man is nowhere to be seen, already gone. Carmen nods, seeming relieved.

“Lead the way.”

—

The weather’s been sweltering lately, the sun heating up the city’s concrete walls, asphalt roads, and stone pavements until it feels like being in a big kiln. Luckily, the coffee shop has air conditioning, which both Carmen and you welcome. They are offering unusual caffeine drinks—most of them including something fruity and milky. Carmen orders a Coke with ice without checking the menu, and you go for an iced blueberry matcha latte.

“Thank you for—” Carmen says when he’s seated properly, across from you once again.

“Really, that’s enough of the thanks,” you wave him off, but Carmen talks over you, “For respecting that I wanna keep some things private. During the interview.”

“Ah,” you nod slowly. “You know, normally I would send all the questions for authorization first,” you tell him truthfully, stirring your drink with the thin paper straw, mixing the green matcha with the milk froth and the purple syrup. “I wanted to be a bit nasty.”

It’s Carmen’s turn to slowly nod, once. “I see,” he says. “I’m not surprised, honestly.”

You fiddle with the collar of your cotton blouse nervously.

“I appreciate that you had my back today,” Carmen continues. “It means a lot to me, you know?”

Not used to hearing kind words from Carmen, you find it hard to look at him directly, so you keep staring into your drink instead. “I think I do.”

As if sensing your hesitation, Carmen gives you a second before he asks:

“So, you have a thing for clothes, huh? Fashion, I mean.”

“As you do,” you shoot back playfully but honestly.

“I guess I enjoy the aesthetic aspect of it… I really liked some of the clothes today. It was nice to try something new. I’m not very good at new things,” he muses. “I liked the dress you wore in your office the other day. You looked—different,” Carmen adds uncertainly, playing with the napkin under the sweaty glass.

“I don’t wear dresses very often,” you stammer out, trying to hide the flush creeping up your neck. “And in the restaurant, I wanted to be in something that can get dirty. So… not too fancy clothes.”

Carmen notices how caught off guard you are right now.

“I wanted to bring up the topic of what happened at your work,” he explains slowly, hesitantly. “And what happened at The Bear before that… A lot of the aggression comes from my own frustration. And I shouldn’t take it out on other people. Like I said, there’s no excuse for it.”

You squirm in your seat, nervous to talk about the topic out loud for the first time. “It’s hard, Carm. First, you pretend you don’t know me. Then you barely talk to me. Then I feel like we’re actually starting to get along well, but you accuse me of this huge nonsense. All the while, I’m only trying to help you.”

“I know.”

“Then why?”

“Because I don’t know how to respond to kindness.”

Your eyes fill up with tears, and you have to blink a couple of times to chase them away. You take a deep breath, your chest expanding with it. Carmen’s sitting still on the stool, looking like a schoolboy who had misbehaved during recess.

“Be kind to kind,” you say simply, spreading your hands, your eyebrows raising.

Carmen chuckles, sounding very self-deprecating, scratching his nose. “I’m working on it.”

He might think you’ll let it slide. You won’t. “Promise,” you press, urgent. “Promise me.”

His eyes meet yours, and he says it. “I promise.” Then once more, in a stronger voice: “I promise. And I’m sorry.” And your heart breaks for him because you know he’s never known much kindness.

“Deal.” To keep your hands occupied, you take out your chewing gum, wrapping it in an empty sugar packet. Then you raise your iced latte in a mock toast, taking a first sip of the drink.

“Just... be careful with the 'nasty' part,” Carmen says with a slight grin, breaking the tension. “I don’t think either of us needs more of that.”

You chuckle. “Fair enough. I’ll try to keep the nastiness in check.”

Carmen smirks, shaking his head as he relaxes back into his chair. “I appreciate that.”

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