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These stories not only sensationalized but moralized, using food as the vector through which Chinese people could be cast as dirty, barbaric, and altogether unrelatable. Wells Williams’ The Middle Kingdom (1848) spread myths about the Chinese eating “many undesirable things” like “dogs, cats, snakes, frogs, or indeed any kind of vermin,” including rats and mice. Like a game of Chinese whispers, texts like The Chinese Traveller (1772) and S. In the earliest Times reportage on Chinatown, there are echoes of old traveler’s stories by white missionaries to China. As a result, both now and throughout history, the mainstream success of Asian cuisine has never guaranteed that actual Asians themselves are any better off for it. Widening the lens beyond Roman alone, a more complete picture emerges when considering the broader, century-plus history of New York Times reporting on Chinatown: as a whole, the publication has facilitated a tastemaking and at times, taste breaking process, in which the popularization of ethnic foods hinges upon white chefs, white journalists, and white critics.

After criticizing Chrissy Teigen and Marie Kondo in an interview with New Consumer, Roman was quickly called out for her caucacity-that a white woman who’d built her culinary empire by watering down Asian cuisine for a white, Times-subscribing palate had the audacity to denounce members of the community she’d so effortlessly appropriated from. At the intersection of internet controversies and stews gone wrong, Alison Roman is feeling the heat of a situation boiled over.