Indonesian Food!

Now is not the very best time to try new restaurants, but it is a very good time to try new cookbooks, and perhaps, new cuisines as well.

Let’s begin with Eleanor Ford’s Fire Islands: Recipes from Indonesia. Like many of today’s cookbooks, this one is visually beautiful, with photographs for each of the dishes and locales. Indonesia is one of the world’s largest nations–it’s just behind the U.S. with 270 million people, making it the world’s fourth-largest country. We don’t see a lot of Indonesian restaurants, but the numbers seem to be growing: according to Yelp, there are 4 in the Boston area, 10 in the Philadelphia region, a half dozen in and near Seattle (some are food trucks, others are mixed with Malaysian). Indonesia is an archipelago, and it emerged as a unified nation coming out of World War II, but the islands were previously unified as the Dutch East Indies, a colony in 1800. Indonesia is a very large country–with more than 17,000 islands.

Start in the west (above left) with Sumatra. Aceh, on its northern tip, was “capitol of a spice empire”–if you remember your world history, Columbus and others were in search of spice islands, and Sumatra was one of the largest, a source for cinnamon, nutmeg, clove, fennel, star anise. “The Minangkabau people…have developed a sophisticated cuisine that has traveled to become Indonesia’s most popular. No town in the archipelago is without a Padang restaurant, named for the region’s largest city. They serve delectable dishes, rich with coconut and scented with kaffir lime. The crowning glory is rending, beef or buffalo that is slow-cooked until caramelized and infused with chili, lemongrass, turmeric, and ginger.”

Next, on to Java, “the center of Indonesian politics, economy and culture.” Here, you’ll find the mega-city of Jakarta. Try “asinan, a…pickled vegetable salad swathed in peanut sauce.” Or, fish in a banana leaf with the scent of basil and lemongrass.

The island of Bali is a tourist center, where you might try Babi Guling, which is a suckling pig steam with hot stones in an earthen oven. Order it with lawar, a green bean dish with coconut dressing.

And we’ve begun. Let’s cook something.

“It starts with bumbu — “the bass note to almost every Indonesian recipe is a spice paste called bumbu. This gives depth and resonance with a combination of heat, sharpness, and space. Candlenuts are often added, which give body.”

Easy enough to begin by cooking up some street food. Begin with Peanut & Lime Leaf Crackers. These are super-crispy, and it takes some practice to ladle the batter so it slides into the hot oil and finds its way to the hot center of the pan for “final crisping.” What’s inside? Skin-on peanuts, garlic, candlenut (or almonds), coriander seeds, salt, rice flour, some black peppercorns, and two lime leaves. Nothing that’s difficult to find.

Still on the streets, IFC (Indonesian Fried Chicken) is very popular, and there are lots of different recipes, but the author strongly favors a Yogyakarta version (see map) with spice-scented coconut water. Other ingredients: Asian shallots, garlic, coriander, salt, flour. We’re seeing a pattern here. You know Chicken Sate from other Asian restaurants–this is a good introduction for the reluctant-to-try, and always a favorite with children because it’s fun to eat off a skewer.

Indonesia is influenced by many different cultures, including India, which is not very far away. No surprise to find a Lamb Korma recipe here–and a suggested recipe for golden lace pancakes as a suitable side dish.

Indonesia is an island nation–lots of fresh fish. Scallops gulai introduces gulai sauce, which is “spicy, sunny colored, and coconutty.” It’s quick to prepare (it uses bumbu spice paste, prepared in advance), and ridiculously tasty.

Clearly, one of the author’s favorites in Ayam tailiwang, which she describes as “truly everything you could hope for in a grilled chicken. The skin is burnished and glazed, contrasting with the succulent meat inside. There is a fiery smack of charred chili and deeply smoky savoriness from the garlic.” Her recipe comes from a local chef in Lombok, who got it from his mother.

Vegetable urap

Vegetable urap with fresh spiced coconut has its roots in Bali. It’s a salad with green beans, beansprouts, coconut oil, shallots, garlic, chili, black-eyed peas, and lime. She recommends pakis, which are fern fronds, but if you catch the time of year just right, you could probably pop a few fiddlehead ferns into the salad in addition or instead. For a variation, try Sweet Coconut & Basil Salad, which features kencur (it’s fun to experiment with unfamiliar ingredients; it’s are aromatic gingers).

“There’s not a tourist restaurant in Indonesia that doesn’t serve Nasi goreng, which is a “Unami-packed fried rice.” You’ll want to get to know your rices, too: there’s red rice, which is nutty and a bit chewy; black rice, also sometimes purple rice, high in antioxidants (the color comes from the same pigment as blueberries), often served in a pudding with salted coconut cream; white rice, which is brown when the bran layer is intact), best if you buy the long-grained Jasmine which carries a delicate perfume.

You’ll want to know about sambal, too: it’s a “spicy crescendo” and often a complement to bumbu. Sambal is a relish, not cooked into the dish but dropped onto the top. There are lots of variations from Padang Red Chili Sambal to Sweet Tomato Sambal to Strawberry Sambal.

For dessert, you could go for the Coconut Custard Pie, leftover from the colonial era, but ambitious bakers will give Terang bulan a try. It’s a street food sandwich “rather like a giant crumpet” and you choose your own filling. “A rubble of roasted peanuts and sesame seeds, frosted with lots of sugar and a little salt is good.” She also recommends a surprising combination of chocolate and cheese as a homemade filling. If you’re a fan of peanut brittle, give coconut brittle a try.

In the future, we’ll watch TV

Screen Shot 2015-04-22 at 11.51.26 AMSure, there’s been a lot of hubbub about how television has changed and will change, but I think the conversation is over-rated. For seventy years, people have watched news, sports, comedies, dramas, movies by pressing a button and staring at a screen. We’ve added stereo, color, lots and lots of TV channels, on-demand viewing. Ask the average person about the revolution in the television industry and they’ll tell you that that they thought The Tonight Show was kind of funny last night. They probably would have said the same thing in 1954.

What has changed is the industry that provides the programs. Once, there were three or four. networks Now, the number is uncountable because nobody’s sure how to classify Netflix, YouTube, or HBO NOW. Kudos to Pamela Douglas for trying to make sense of a very messy industry. She wrote a book—a very good book, in fact—entitled The Future of Television: Your Guide to Creating TV in the New World. We got to know one another, and talked about why she took on such an impossible project, how she approached the subject matter, and what she learned along the way. I should explain that Professor Douglas works at USC, that she has done her share of writing for prime time television, and that she is the author of a popular book entitled Writing the TV Drama Series for the same publisher (Michael Wiese Productions, a publisher also active in the production world).

Screen Shot 2015-04-22 at 11.51.34 AMMoving from the old world of traditional broadcast networks through hybrid innovators including cable networks then into the new world of internet services and alternative funding models, she covers the waterfront. There are interviews with knowledgable leaders from Netflix, Kickstarter, HBO, and other companies whose work matters a great deal in 2015.

I knew she was on the right track when I read this sentence, part of an interview with longtime Writer’s Guild executive Charlie Slocum: “…some writers are introverts and they don’t want to deal with all the people who are production managers, accountants, location scouts and so forth. Fine, so partner with a producer who loves all that and doesn’t have the patience to sit down with a blank page. That’s the path to being an entrepreneur in a partnership.”

He goes on: “On broadcast, the priority is to be similar….The classic example…what they have on at eight they hope is compatible with what they have on at nine so they keep the audience. It’s audience flow programming strategy.”

And here’s the important point that informs not only the conversation, but the whole book: “…individuals pay for HBO and Netflix. So if your base is subscribers, your goal is to have as many different subscribers as you can. That means when you have one show like House of Cards, you want the next show to be as different as possible [italics mine]…On subscription TV the goal is to get as many different people as possible to be happy to pay the monthly bill. One series, maybe two, can lock you in for the whole 12 months.”

The strategy comes to life in a conversation with Dan Pasternak of IFC. “…our brand is silly and smart. Our tagline is ‘Always On. Slightly Off.’ I said let’s not try to be Comedy Central. Let’s not be Adult Swim. Let’s program content that feels uniquely like IFC. So one of the first shows I helped to develop was Portlandia. And fortunately it became brand-defining.”

(In the 2010s, brand definition is the major challenge for every cable network, and every subscription service. It’s the most effective way to rise above the competition.)

He goes on: “(Portlandia) doesn’t belong anywhere else. Sketch comedy has evolved in the era of the digital short. Essentially each episode of Portlandia is eight little movies. But it’s really one unified perspective, voice, look, and feel.

The philosophy that drives an IFC is vastly different from the strategy that drives NBC’s prime time schedule. Often—and this is the reason why Pam wrote the book—it’s about the writer’s vision. That’s confirmed in her interview with HBO’s Michael Lombardo, who explains, “HBO starts with great writing. There’s no cheat to it…that has been our mania since early on.”

In the new world, the starting place is Netflix. Pam writes, “My writer friends and I love Netflix because it provides (a) place for our best work. But this isn’t our first romance. At the dawn of the 21st century, we were sweet on HBO for Oz and The Sopranos; in the first decade of the century, we had a big crush on AMC for Mad Men and Breaking Bad. Now we welcome Netflix into the second decade.

If you’re sensing a pattern here, you’re beginning to understand why Pam wrote the book. It’s all about the writing, the stories, the characters, the writer’s vision, and, of course, a place for all of that creative energy in a well-defined marketplace.

Netflix’s Ted Sarandos: “It’s about the product. Netflix was the only way to see House of Cards.”

So that’s the key for the subscription services—the only place to watch. This is a vastly different strategy from the one employed by A&E or TBS in order to achieve their current success (they used reruns to build audience).

Screen Shot 2015-04-22 at 11.51.21 AMNowadays, most cable networks are coming to the same conclusion: their future is going to be defined by original programming (scripted and unscripted, both have their place), and by events (which tend to work only sometimes, in part because they’re expensive and also because they’re difficult to construct with any frequency). So there’s the conundrum for the deeper future: as each cable network, and each subscription service, develops and markets their own unique programs, the audience becomes that much more fragmented. The pie slices become smaller, the ability for any individual player to make an impact becomes that much more challenging.

If you’re a cable programmer, or you’re responsible for one of the growing number of subscription services, your job relies upon your ability to generate programs that can be seen and heard above the crowd. If you’re a writer, or an aspiring writer, you now need to understand the nuances of the programming marketplace in ways that were never required in the past. Everything is more complicated. And it’s not.

In the end, nothing has changed. A writer has an idea, pitches it, somehow survives the development and production process, and connects with an audience. That fundamental formula has been around for a century (longer, if you dig back to the days when John Wilkes Booth was widely known as one of America’s most popular stage actors).

The message: be a diligent student, but spend most of your energy dreaming up great stuff.

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