The Menu intertwines commentary on the solidarity necessary between service workers with the drudgery they face, all with a satirical bent familiar to those who've been there. justbrizigs explains:
director Mark Mylod’s fourth feature effort—the latest since 2011’s iconic Chris Evans vehicledid not inspire confidence. But I chalk it up to yet another case of a trailer doing a disservice to the finished piece . I always try to reserve judgment about these sorts of things. But I am, by nature, a judgmental, opinionated and reactive person.
Eventually, we get what Slowik meant by this: He has astutely clocked that Margot is not one of the customers, but one of the staff. He sees through her thin façade: She is not of the upper crust, but a servant of them just like he is. Still, her inclusion in the evening cannot free her of her impending fate, which is the death of all diners, all cooks and Slowik himself. It’s part of Slowik’s ambitious new menu, a means of transcending the confines of mere culinary artistry .
On the one hand, this decision—of the food service staff to kill themselves in tandem with their guests, instead ofkilling their guests out of revenge—could be construed as confused or even derogatory in its stance towards the working class. But seeking only vengeance on the elite customer would be too easy of a thesis; obviously, most people who have worked in customer service want to kill their customers. There’s nothing novel in that idea.
So, Slowik understands that he and Margot are the same, but it’s to the point where she too should be willing to give up her life in service of her work.
Brianna Zigler is an entertainment writer based in Brooklyn. Her work has appeared at Gawker, The Playlist, Polygon, Bright Wall/Dark Room and more. You can follow her on
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