Netflix Reworks Leftovers with Food-Based Reality Game Show

In this undated photo provided by Netflix, from left to right Jonathan Kim, Alexandra Jones and Melissa Schwimmer compete in Netflix's new food-based reality game show “Best Leftovers Ever!” (AP)
In this undated photo provided by Netflix, from left to right Jonathan Kim, Alexandra Jones and Melissa Schwimmer compete in Netflix's new food-based reality game show “Best Leftovers Ever!” (AP)
TT
20

Netflix Reworks Leftovers with Food-Based Reality Game Show

In this undated photo provided by Netflix, from left to right Jonathan Kim, Alexandra Jones and Melissa Schwimmer compete in Netflix's new food-based reality game show “Best Leftovers Ever!” (AP)
In this undated photo provided by Netflix, from left to right Jonathan Kim, Alexandra Jones and Melissa Schwimmer compete in Netflix's new food-based reality game show “Best Leftovers Ever!” (AP)

Just in time for anyone facing a heaving, post-holiday refrigerator comes a TV show about what to do with all those dubious dishes — leftovers.

Each episode of the food game show “Best Leftovers Ever!” on Netflix sees three skilled cooks make new dishes out of already made dishes, hoping to walk away with $10,000.

“People think leftovers is just reheating your food. It’s not just reheating your food. Get creative with it. You could always create new and better things with it later,” says comedian David So, one of the judges.

In the first episode, contestants are given healthy leftovers — veggie salad, cauliflower rice, pork tenderloin with beets, and avocado with cottage cheese — and are asked to turn them into comfort food in 30 minutes. They have access to a pantry and kitchen staples.

One contestant turned to Indian flavors, making a pork curry with fritters. Another went for Greek, making a beet- and pork-stuffed pastry called a tiropita. The third made a tostada with glazed pepper jelly pork.

In the second round, called the Takeout Takedown, contestants must make new dishes from restaurant leftovers in only an hour. One took chicken fingers and fries and made a potato gnocchi. Another turned old burgers and fries into pierogies.

Later episodes see contestants turn football-watching party food — bean dip, sliders and raw veggies — into beef stroganoff or tacos, and turn leftover barbeque into lasagna or dumplings.

“If the audience can walk away and go back to their fridge and say, ‘Hey, I’m not going to throw this away, I’m actually going to make something amazing out of it,’ then we did our job,” says So.

The show arrives during a time when viewers have had to adjust to ordering takeout during the pandemic and at the end of holiday feasts.

“The timing couldn’t be more perfect,” says the show’s host, actress-musician Jackie Tohn, who starred in the TV series “GLOW” and is a self-described “leftover queen.”

“We can’t go to restaurants and all we can do is order in. And then if you get that Chinese food and you don’t want it to be Chinese food on night two, we’re giving you a bunch of tips and tricks to make that possible.”

Tohn and So are joined by the second judge, British chef and TV personality Rosemary Shrager. The three have a slightly absurdist vibe, tossing cheeseballs into each others’ mouths while contestants cook, or imitating Julia Child’s high-pitched modulations.

The show appealed to both So and Tohn since they grew up in households where there was little food wasted. Tohn’s grandmother used to keep bones for marrow: “Nothing ever got thrown away. I mean, we ate leftovers until the very end.” And So had leftovers all week.

“Everybody thinks that you have to eat new food every day. And that’s just not what I grew up with,” he says. “My mom would always make a big meal on the weekend and then I would have to be creative and then make good food on the weekdays with it.”

He laughs that chefs always stress fresh ingredients but a lot of what restaurants send out is leftovers, like arancini, which are usually just yesterday’s risotto, now rolled into balls and deep fried. “I don’t think we understand a lot of our favorite foods are honestly repurposed foods.”



Movie Review: A Weird ‘Superman’ Is Better than a Boring One

 Cast member David Corenswet attends a premiere for the film "Superman" at the TCL Chinese theater in Los Angeles, California, US, July 7, 2025. (Reuters)
Cast member David Corenswet attends a premiere for the film "Superman" at the TCL Chinese theater in Los Angeles, California, US, July 7, 2025. (Reuters)
TT
20

Movie Review: A Weird ‘Superman’ Is Better than a Boring One

 Cast member David Corenswet attends a premiere for the film "Superman" at the TCL Chinese theater in Los Angeles, California, US, July 7, 2025. (Reuters)
Cast member David Corenswet attends a premiere for the film "Superman" at the TCL Chinese theater in Los Angeles, California, US, July 7, 2025. (Reuters)

It’s a bird, it’s a plane, it’s a ... a purple and orange shape-shifting chemical compound?

Writer-director James Gunn’s “Superman” was always going to be a strange chemistry of filmmaker and material. Gunn, the mind behind “Guardians of the Galaxy” and “The Suicide Squad,” has reliably drifted toward a B-movie superhero realm populated (usually over-populated) with the lesser-known freaks, oddities and grotesquerie of back-issue comics.

But you don’t get more mainstream than Superman. And let’s face it, unless Christopher Reeve is in the suit, the rock-jawed Man of Steel can be a bit of a bore. Much of the fun and frustration of Gunn’s movie is seeing how he stretches and strains to make Superman, you know, interesting.

In the latest revamp for the archetypal superhero, Gunn does a lot to give Superman (played with an easy charm by David Corenswet) a lift. He scraps the origin story. He gives Superman a dog. And he ropes in not just expected regulars like Lois Lane (Rachel Brosnahan) and Lex Luthor (Nicholas Hoult) but some less conventional choices — none more so than that colorful jumble of elements, Metamorpho (Anthony Carrigan).

Metamorpho, a melancholy, mutilated man whose powers were born out of tragedy, is just one of many side shows in “Superman.” But he’s the most representative of what Gunn is going for. Gunn might favor a traditional-looking hero at the center, like Chris Pratt’s Star-Lord in “Guardians of the Galaxy.” And Corenswet, complete with hair curl, looks the part, too. But Gunn’s heart is with the weirdos who soldier on.

The heavy lift of “Superman” is making the case that the perfect superhuman being with “S” on his chest is strange, too. He’s a do-gooder at a time when no one does good anymore.

Not everything works in “Superman.” For those who like their Superman classically drawn, Gunn’s film will probably seem too irreverent and messy. But for anyone who found Zack Snyder’s previous administration painfully ponderous, this “Superman,” at least, has a pulse.

It would be hard to find a more drastic 180 in franchise stewardship. Where Snyder’s films were super-serious mythical clashes of colossuses, Gunn’s “Superman” is lightly earthbound, quirky and sentimental. When this Superman flies, he even keeps his arms back, like an Olympic skeleton rider.

We begin not on Krypton or Kansas but in Antarctica, near the Fortress of Solitude. The opening titles set-up the medias res beginning. Three centuries ago, metahumans first appeared on Earth. Three minutes ago, Superman lost a battle for the first time. Lying bloodied in the snow, he whistles and his faithful super dog, Krypto, comes running.

Like some of Gunn’s other novelty gags (I’m looking at you Groot), Krypto is both a highlight and overused gag throughout. Superman is in the midst of a battle by proxy with Luthor. From atop his Luthor Corp. skyscraper headquarters, Luther gives instructions to a team sitting before computer screens while, on a headset, barking out coded battle directions to drone-assisted henchmen. “13-B!” he shouts, like a Bingo caller.

Whether this is an ideal localizing of main characters in conflict is a debate that recedes a bit when, back in Metropolis, Clark Kent returns to the Daily Planet. There’s Wendell Pierce as the editor-in-chief, Perry White, and Skyler Gisondo as Jimmy Olsen. But the character of real interest here is, of course, Lois.

She and Kent are already an item in “Superman.” When alone, Lois chides him over the journalistic ethics of interviewing himself after some daring do, and questions his flying into countries without their leaders’ approval. Brosnahan slides so comfortably into the role that I wonder if “Superman” ought to have been “Lois,” instead. Her scenes with Corenswet are the best in the film, and the movie loses its snap when she’s not around.

That’s unfortunately for a substantial amount of time. Luthor traps Superman in a pocket universe (enter Metamorpho, among others) and the eccentric members of the Justice Gang — Nathan Fillion’s Green Lantern, Edi Gathegi’s Mister Terrific and Isabela Merced’s Hawkgirl — are called upon to lend a hand. They come begrudgingly. But if there’s anyone else that comes close to stealing the movie, it’s Gathegi, who meets increasingly absurd cataclysm with wry deadpan.

The fate of the world, naturally, again turns iffy. There’s a rift in the universe, not to mention some vaguely defined trouble in Boravia and Jarhanpur. In such scenes, Gunn's juggling act is especially uneasy and you can feel the movie lurching from one thing to another. Usually, that's Krypto's cue to fly back into the movie and run amok.

Gunn, who now presides over DC Studios with producer Peter Safran, is better with internal strife than he is international politics. Superman is often called “the Kryptonian” or “the alien" by humans, and Gunn leans into his outsider status. Not for the first time, Superman’s opponents try to paint him as an untrustworthy foreigner. With a modicum of timeliness, “Superman” is an immigrant story.

Mileage will inevitably vary when it comes to Gunn’s idiosyncratic touch. He can be outlandish and sweet, often at once. In a conversation between metahumans, he will insert a donut into the scene for no real reason, and cut from a body falling through the air to an Alka-Seltzer tablet dropping into a glass. Some might call such moments glib, a not-unfair label for Gunn. But I’d say they make this pleasantly imperfect “Superman” something quite rare in the assembly line-style of superhero moviemaking today: human.