The Chef has made his restaurant famous for its culinary treats, its menu which tends toward the abstract, and for his “stunts” with food. Everyone comes there for their last meal (they don’t know this), prepared to be astounded by his brilliance, and he serves them up a series of abstract courses, deconstructed into their parts. Margot calls them “nonsense” and says there’s no food, but that’s not the point; he is speaking to their essence. Furthermore, he has planned this entire menu to the specifics, and as one under-chef says, it doesn’t “work” without the big finale, in which everyone dies in a spectacular deconstruction of the “classic childhood favorite, S’mores.” He tells them not to eat, but to taste and to savor their “food.” He has an intuitive read on Margot from almost the first moment he sees her; he knows she’s not what she pretends to be, that she’s not even really a Margot (“I have served many Margots, and you are not one of them”). When he takes down the entire restaurant, he says that everyone present “represents the ruin of my art and my life.” His Fe is also wildly apparent, in a negative way. Instead of doing the rational thing, which would be to close the restaurant and start up another one (since he hates his customers), he decides to humiliate, punish, and terrify them over the course of an evening. He blames them for his unhappiness rather than blaming himself, and recruits his employees into a death cult, devoted to dying in pursuit of his ultimate menu. He tells the guests discomforting things about his childhood in order to unsettle them, and lets the know early on in the evening what awaits them, when one of his lower chefs admits to being a mundane artist and shoots himself in the head. He allows them a feeble attempt at escape, just to keep it “interesting.” He demands Margot choose which side she is on – his (the staff) or them (rich, pretentious, arrogant assholes, in his mind). “We all strive for perfection,” he insists, and yet he fails to be detached about either his feelings or his intentions. His Se shows up mostly in his artistic edible creations and his love for nature and natural food items; his personal space is sparse and uninteresting visually, showing that he has no real sense of sensory awareness other than the perfection of his palate.

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The Chef is a man full of scorn, icy principles, and total disdain for people’s sin natures – the way they use each other up, how they spend their money (he has made his restaurant a place few can afford, but in so doing, can never appease the palates of the rich), and how they lie to one another. He brings people together for their final meal out of a desire to shame and punish them, including himself – he has his under-chef air his sins in front of everyone (how he tried to sleep with her, and after she refused him twice, he wouldn’t speak to or look at her for two months – an abuse of his own power because “he can do that”). He hates arrogance, and despises others for ruining his “art.” He forces Tyler to confess that he knew about the end result of this evening, in front of Margot, and then says he doesn’t blame her for her outburst. He shames his paying clients by placing their various sins on tortillas for them to stare at and feel appalled by. He calls himself “a monster and a whore,” but defends his actions by saying “but everything I do tonight is pure.” He is a man of lofty ideals, whose line to 4 is showing in how unhinged, snobbish, and arrogant he has become, but at the same time, he can’t help demanding to know from Margot why she doesn’t like his food, in his endless search for perfection. When she takes pleasure in his cheeseburger, he decides that she may leave, a reward for a game well played and because she gave him a brief moment of true joy in serving it to her.

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