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  • This Mexican Restaurant in the Loop Is Worth It — If You Can Figure Out the Payment System

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    Chicago’s Loop isn’t known for innovative restaurants. As an area mostly catering to the office-workers in high-rise buildings looking for a fast lunch or tourists checking out the Sears, er, Willis Tower or Millennium Park, it serves a different group of folks than other parts of the city. It does, however, have more than its fair share of terrific indie quick-serves — looking at you, Sterling Food Hall’s Danke and Seedo’s — and hotel restaurants like Perilla Korean American Steakhouse and newcomer Midōsuji that are helping to redefine the genre while still also offering the obligatory crowd-pleasing dishes.

    Momento, which opened in May, offers something a little different: a dual-format spot featuring a casual taqueria on one side and sit-down cantina on the other. Even before it opened, Momento caught my attention with its large art installation in its Monroe window that made me do a double take. As it turns out, this not-playing-by-the-rules format is part of Momento’s overall conceit. Not all that surprising as one of its founders is a content creator and brand developer whose punchy YouTube video “I’m Mexican” went viral.

    With two entrances — Monroe Avenue for the cantina and Wabash Avenue for the taqueria — Momento can be confusing from the get-go. Fortunately, both sides connect, so there’s no wrong answer.

    The taqueria is the answer to a quick meal and it’s also a good option for solo diners due to its mesmerizing city views: Almost every seat offers a prime vantage point of the bustling downtown action including the “L” trains passing overhead just beyond its two large windows. Put down your phone and take it all in.

    Momento Taqueria has a rather unusual ordering system, that requires a bit of a user manual: Briefly give your credit card to the host to connect it to a Momento card, which you’ll then place in the slot underneath the small screen at each table. Scroll through the offerings and tap on the items you want. Want to review your order? Click on the shopping bag icon.

    As you wait for a server to drop off your food, grab some salsas located on the oval table. Of the three available on my visit, including a habanero — the spiciest of the bunch — and a slightly milder tomatillo verde salsa, it was the deeply flavored salsa macha with earthy-smoky notes of toasted sesame seeds and nuts that I found myself eating by the spoonful.

    Order your food all at once or one dish at a time, the latter being more aligned with the street eating experience in Mexico, according to the owners, and the inspiration behind the high-tech ordering system. (Whether or not customers appreciate it, time will tell.) When you’re done, return your Momento card, automatically charged on your credit card, by selecting the box by the entrance — labeled 15, 18, 20, or 22 percent — that corresponds to your desired tip. Need a receipt? Ask the host.

    The cantina is where you head for a full restaurant experience. It offers plenty of two- and four-top tables with additional seating at the large U-shaped bar in the center of the room. For bigger groups, there’s a semi-private area that can be closed off with wrap-around curtains, which can be booked in advance on OpenTable.

    There’s nothing shy about Momento’s interior design.

    In the taqueria, bright orange seating and yellow geometric structures in the towering corner windows cause passersby to slow down and take a second look. A large mural on one wall depicts the Angel of Independence, who sits atop a well-known Mexico City monument. Paper napkins lean into Momento’s cheeky vibe, stating, “If you want to talk to the manager, se habla en Español.”

    Come during an early weekday afternoon and you’ll see a smattering of workers on their lunch breaks and students from nearby colleges. On the weekends, tourists fresh from an Art Institute visit or State Street shopping occupy the handful of four-top tables and counter seating.

    In the 100-seat cantina, bright pink arches representative of Mexico’s many cathedrals add a festive vibe, as does the elevated DJ booth in one corner of the long space, although it wasn’t being used on my visit. The cantina has begun hosting 21-and-over late Saturday night DJ and dance events here and there. A dark ceiling, dark wood floor, and soft lighting provide a sultry contrast to the taqueria’s brightly lit space.

    In the early evening, the dining room will likely have groups heading to the nearby theaters, their all-at-once exit a dead giveaway. A little later, the tables might be filled with convention-goers staying at those Loop hotels still wearing their lanyard tags. The cantina also attracts couples who appreciate the chill vibe.

    Expect some crossover between the cantina and taqueria menus, but there are differences too. Befitting its laidback service style and presentation, the taqueria is the more affordable option. That doesn’t mean cantina diners don’t get perks. Every table gets gratis refried beans and chips for dipping. Most importantly, the fresh tortillas are featured prominently on both menus — and you definitely want to try those whether in a taco, tostada, or on their own. Heirloom corn from Mexico is used to make the masa, which is then pressed into tortillas and placed on a special machine to cook. Chewy but not too thick, the tortillas are the perfect vessel.

    The spicy tuna tostada is a standout dish.
    Jeffy Mai/Eater Chicago

    For me, it’s the seafood dishes that shine, whether it’s the white fish aguachile in the cantina served with blue-corn tortillas or its tostada counterpart in the taqueria. Firm chunks of the citrus-cured fish are paired with crunchy cucumber slices and pickled red onion and topped with fried shallot strips. A spicy tuna tostada paired with a creamy avocado sauce, available on both sides of that plastic divider, is another must-order with a gravity-defying crispy tortilla that allows you to pick it up to eat without it falling apart. On the taco side, go for the deep-fried white fish (pescado playa) or the rib-eye served with crispy potato strips on top.

    Heartier appetites can opt for guisados like cochinita pibil or chicken with green mole served with rice, beans, and more of those tortillas. In the taqueria, those guisados make for a wallet-friendly meal during happy hour (4 p.m. to 6 p.m. Monday through Friday) at just 10 bucks.

    As for drinks, there’s a variety of margaritas — creamy elote, anyone? — but Momento also features an automated mezcal and tequila machine that offers tasting-sized portions. You can also just order those or a flight from your server. There’s a rotating selection of Mexican beers on tap, too. I found my new favorite nonalcoholic drink here in the Suero, a mix of sparkling water, fresh lime juice, and salt, popular in Mexico as a hangover cure.

    Momento has some quirks that might discourage first-time diners. On some visits, just one host was working both sides of the restaurant, which meant customers were standing around looking confused. There’s also a slight learning curve for the ordering system in the taqueria but, after three visits, I’m a pro. Nonetheless, I’m rooting for Momento: for its initiative in telling a different story about Mexico, and its culture and food at a time when we so need it, as well for shaking things up in an area of Chicago where empty storefronts are so common.

    Momento, 44 S. Wabash Avenue, (312) 363-3136; open 11 a.m. to 11 p.m. Monday through Thursday, 11 a.m. to midnight Friday and Saturday; and noon to 8 p.m. Sunday. Reservations available via OpenTable for the cantina.

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    Lisa Shames

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  • This West Town Listening Bar Is a Superb Introduction to Chicago Music History

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    In a Japanese jazz kissa or kissaten, patrons primarily come for the vibes and the tunes. These are cozy, typically dark lounges where music lovers gather to enjoy vinyl records played on a high-quality sound system. Food and drink is often available, but the focus is on the music and it’s all about the experience of shared enjoyment. Popular Chicago DJ Lee Farmer became entranced with the concept, and together with his wife Gina Barge-Farmer, they opened Wax Vinyl Bar and Ramen Shop last fall, a moody music lounge stocked with enough records, bites, and cocktails to fuel a fun night out in West Town.

    The couple are Chicagoans with distinct musical connections. Barge-Farmer is the daughter of late jazz musician Gene “Daddy G” Barge, who toured with the Rolling Stones and Muddy Waters, and had a notable role as a cop in the Fugitive. Farmer is an industry veteran DJ, producer, and recording engineer. The vision began when the couple went to Tokyo, and were inspired to import a kissa to Chicago as similar listening bars flourished across the country.

    Because of the music and regular DJ rotation, Wax Vinyl Bar and Ramen Shop has also become a celebrity hangout; visitors have included Chuck D of Public Enemy, Grammy Award-winning poet J. Ivy, acclaimed singer-songwriter Anderson .Paak, and actor Morgan Freeman. You never know who you’ll see hanging out by the turntables while you enjoy your egg rolls.

    Wax Vinyl Bar and Ramen Shop is located near the corner of Chicago and Ashland Avenues, close to other longtime West Town restaurants Beatnik and Opart Thai House. We were easily able to find street parking along Ashland. The establishment is low-key and dark with a small sign that makes it easy to miss if you’re not looking for it.

    The sets at Wax Vinyl bar have attracted celebrities.
    Gina Barge-Farmer

    The decor is elegant and comfortable — perfect for date night or a group celebration. The back wall is like a DJ shrine, a dream setup for turntablists with a library of records on display. On Friday and Saturday nights, you can expect the party to kick into gear with house music, ’90s hip hop, and high-energy vibes. We visited on a chill Sunday evening; Farmer was on the ones and twos and served up a lovely selection of old soul, funk, and R&B. Our dinner was accompanied by a soundtrack of deep cuts by Heatwave, George Benson, Toto, and Zapp. But if you absolutely need to watch the game on Sunday, there are several flatscreens mounted for your sportsball pleasure.

    A plate of collard greens-stuffed egg rolls with fries and three sauces.

    Egg rolls are stuffed with collard greens and kale.
    Patrice Yursik

    For a place so focused on music, the menu is surprisingly varied and offers several delicious vegan and gluten-free options. The menu is split into the A Side — dinner served from 6 p.m. to 11 p.m. — and the B Side, a smaller offering of late-night bites available after 11 p.m.

    Wax Vinyl Bar and Ramen Shop is a self-described “Japanese-adjacent” restaurant, so be aware if you’re a purist. The waiter described the ramen as “a marriage of ramen and pho,” with rice noodles and herbaceous broth. I ordered the spicy red miso ramen with shrimp and it was delicious, satisfying, and abundant.

    The outstanding app from our visit was the Tokyo shrimp, four large shrimp served over a mound of coconut rice with a red cabbage slaw. The shrimp were spicy, sweet, crisp, and tender. I already look forward to returning for another order of the collard greens “soul rolls,” egg rolls filled with collard greens and kale braised in coconut milk, and served with a citrus coconut curry dipping sauce and togarashi fries. You can’t go wrong with the tempura or an order of fried rice — ask for the shrimp and mushroom together for a winning combination.

    The cocktail menu is thoughtful, and I was advised that cocktails #6 and #8 are the most popular. Cocktail #6 is bourbon-based with lime, simple syrup, and allspice dram, while #8 is a mezcal martini with St. Germain liqueur, sweet vermouth, and a lemon twist. I enjoyed #3, a blend of gin, passionfruit and lemon juices, velvet falernum, and orgeat syrup. It was a refreshing beverage with warm, nutty, tropical sweetness.

    Wax Vinyl Bar and Ramen Shop aims to be a West Town staple that brings new energy to the neighborhood through its music, ambiance, and food. It’s got a fun vibe for a night on the town but also offers an introduction to Chicago’s DJ world. I’m already planning my next visit: Tokyo shrimp, cocktail #3, and the watermelon poke the couple next to us ordered that looked amazing.

    Wax Vinyl Bar and Ramen Shop is located at 1549 W. Chicago Avenue. Open 6 p.m. to 2 a.m. Thursday to Saturday, and 6 p.m. to midnight Sunday.

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    Patrice Yursik

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  • Tavern-Style Pizza Is Worth the Wait at an Italian Hot Spot

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    Cornerstone Restaurant Group debuted a new Italian spot in August, taking over the longtime Tarantino’s space in Lincoln Park. With a full house every night, Dimmi Dimmi Corner Italian has quickly become one of the toughest tables in town. Here’s the scene on a Wednesday at 6:30 p.m.

    A laid-back neighborhood spot that works for just about any occasion. On my visit, a family had dinner while the kids kept busy with iPads. At another table, staff acknowledged a birthday with a celebratory dessert. Groups of friends gathered to catch up, and couples tucked into two-person booths along the exposed brick wall. The bar — where I sat — is first come, first served, but there’s little space to wait on a busy night. I found myself awkwardly hovering by the host stand until a seat opened up, and if several parties are waiting, the area gets quite congested. Music plays at a low volume that doesn’t hinder conversation, and the lighting is dim enough that one patron resorted to a phone flashlight to read the menu.

    Executive chef Matt Eckfeld’s menu showcases red-sauce classics and tavern-style pizza. The baked clams casino is a nice starter. Nine clams arrive nestled in their shells, crowned with a spicy breadcrumb crust and bacon; a squeeze of lemon helps cut through the richness. For a Chicago spin, the Italian beef–style carpaccio comes dressed with giardiniera, shaved Parmesan, and a drizzle of beef jus aioli. The pizzas are paper-thin, evoking the tavern-style pies Bungalow by Middle Brow serves on Tuesdays. Every piece of my sausage pizza had a hunk of pork on it, reminiscent of Villa Nova. There’s also a pie topped with vodka sauce, sweet onions, ‘nduja, and Calabrian chile. I nearly finished an entire pizza on my own, and those with big appetites should be able to do the same.

    Cocktails lean predictably Italian, including a Calabrian dirty martini with ‘nduja-gorgonzola stuffed olive, amaro sour, and a selection of spritzes. The negroni is a particularly fine version, made with Gran Bassano Rosso, a Merlot-based vermouth. Wines are mostly Italian as well, and a variety of amaro and grappa are available if you want a digestif after dinner.

    Dimmi Dimmi has the spirit of a neighborhood restaurant, but judging by the crowds and buzz, it’s attracting a much wider audience. The menu feels familiar, yet thoughtful twists keep it fresh and interesting. Tavern-style pizza lovers will be pleased by the offerings — no small feat given the flood of new contenders lately. Right now, you’ll have to plan weeks in advance to secure a reservation. Walk-ins are welcome at the bar, though a wait is likely.

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    Jeffy Mai

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  • This Latin Steakhouse Breaks From Tradition

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    Stephen Sandoval’s latest project arrived in West Loop in early August. Trino, a Latin steakhouse that takes over the old Komo space, has joined the crowded pack of restaurants on Randolph Street. Here’s the scene on a Sunday around 7 p.m.

    Stylish yet comfortable, the space is a welcome break from the stiff formality of most modern steakhouses. Art takes center stage in the design, highlighted by a mural above the bar from Raspy Rivera and CoCo Schramel along with other pieces. It’s the kind of place that works just as well for date night or a family dinner, while the bar is great for solo diners — on my visit there was a guest in full White Sox gear who didn’t look out of place. In the rear, a brighter dining room offers a livelier atmosphere, ideal for groups. A Latin soundtrack fills the room, setting the mood without overwhelming conversation.

    Those partial to gin and tonics are in luck: The menu has three versions influenced by Mexico, Galicia, and Argentina. The tres raíces section of the menu leans into Latin traditions, from a coffee-rum blend with Guatemalan cold brew to a tequila-and-yerba mate refresher. The spirit-forward lineup cater to stronger tastes with offerings like the tango negro, featuring rye, fernet, and sweet vermouth.

    Expect refined renditions of steakhouse staples. Both the shrimp cocktail and beef tartare are exceptional — among the best I’ve had in recent memory. Chef Sandoval is known for tuna tostada, a dish available at his West Town bar Diego and formerly at Sueños, the pop-up he ran inside Soho House a few years ago. Trino’s tostada is similarly impressive, a verdant disc of crab meat, avocado, dill, and Asian pear pistachio. It may seem unnecessary to fill up on bread but the Hawaiian rolls and focaccia fry bread deserve room at the table. For the main event, the steaks, there’s everything from picanha to a dry-aged T-bone. They’re complemented by optional sauces, including classic au poivre made with corn liqueur and chimichurri with pequin peppers. Sandoval is big on potatoes so there are four different preparations — smashed, mashed, fried, and a potato of a day.

    New steakhouses seem to appear in Chicago every month, and most feel like replicas of the traditional formula. Trino, however, breaks the mold and delivers something truly exciting. There doesn’t need to be a special occasion to warrant dining here; Trino shines as a relaxed take on the white-tablecloth experience. Prices are in line with other steakhouses: A cocktail, appetizer, steak, and side during my most recent visit totaled $152 with tip.

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    Jeffy Mai

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  • Do You Believe? Utah Whitneys Want to Know.

    Do You Believe? Utah Whitneys Want to Know.

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    Photo: Atessa Moghimi (A24)./A24

    Modern-horror cinema’s most heterodox event took place on Saturday night, when two blonde Whitneys and A24 hosted dueling screenings at a multiplex within the southernmost border of Salt Lake City proper. The film was Heretic, directed by Scott Beck and Bryan Woods, about two Church of Jesus Christ of Latter-day Saints missionaries, Sister Barnes (Sophie Thatcher) and Sister Paxton (Chloe East), who knock on the door of a suburban Colorado house one inclement afternoon hoping to baptize the homeowner, Mr. Reed (Hugh Grant), into their faith.

    Within a makeshift chapel behind locked doors, Mr. Reed lectures the missionaries on Radiohead’s litigious copywriting strategy; Monopoly and its unsung predecessor, The Landlord’s Game; and bird-headed deities until coercing the young women to choose their escape from his house of escalating horrors either through a door marked “DISBELIEF” or one alongside it marked “BELIEF.” (Spoiler: Neither presents an easy egress.

    Inside this packed cineplex, the screening’s snaking line was filled with only the truest disciples of horror film and/or Utah-based reality television. Some people I spoke to had been invited to the event by A24 directly, including members of the Lost & Found Club, a women- and genderqueer-led 501(c)(3) that aims to bring community to people who have left the LDS church in young adulthood. But most people waiting in the standby line for tickets had to rely on faith alone that they’d make it to that celestial kingdom of a screening room and experience the rapture of an A24 film presented by a woman named Whitney (with a complimentary free small popcorn and small fountain drink).

    The event’s whole shtick played off the confrontational, dueling doors that have been the centerpiece of the film’s marketing: If an attendee was handed a DISBELIEF ticket, they attended the screening hosted by Whitney Rose, the Real Housewives of Salt Lake City cast member who was raised in the church but has since left it. If they got a BELIEF ticket, then they went to the screening hosted by Whitney Leavitt, a practicing Mormon and cast member of The Secret Lives of Mormon Wives.

    The LDS church has expressed concern about Heretic as its November 8 release nears, which is also the date on which the film takes place. In a statement provided to the Mormon-run newspaper Deseret News, church spokesperson Doug Anderson said, “Heretic portrays the graphically violent treatment of women, including people of faith, and those who provide volunteer service to their communities. Any narrative that promotes violence against women because of their faith or undermines the contributions of volunteers runs counter to the safety and well-being of our communities.”

    I hear what the church is saying about violence against women — Heretic has a scene involving an elderly woman’s arthritic fingers and a blueberry pie that is, while slightly less depraved than Call Me by Your Name’s sequence with Timmy Chalamet and a peach, far more psychically scarring than the hand scene in A24’s Talk to Me. For what it’s worth, I didn’t find Heretic anti-Mormon. If anything, the film was overwhelmingly anti-smug British guy.

    Rose, who later told me that she was channeling her “inner missionary, Sister Rose,” wore a gray tweed short skirt/long jacket combo with a sheer turtleneck; a “Sword of the Spirit” necklace from her jewelry line, Prism, and a pair of Louboutins. Leavitt, who was one-week postpartum, wore a 1980s Jessica McClintock–inspired minidress from Asos. Her teeny-tiny, adorable one-week-old son, Billy Gene, and her husband/at-home scene partner, Conner Leavitt, watched her admiringly from across the room.

    Each woman had a designated theater to introduce the film, and right before, Rose invited me and my plus-one to join her for a shot of tequila to calm her nerves. (It was Casamigos, not her co-star/usual rival Lisa Barlow’s Vida brand, and I love drama more than I hate heartburn.) Before we knocked it back, Rose called out for Leavitt and anyone else interested to join us for a toast. Leavitt waved Rose off, but did spend time with her Mormon Wives co-star/fellow saint Jennifer Affleck and her husband, Zac, had showed up in the spare theater being used as a greenroom, and they were busy cooing over the new baby. Later, the internet told me that most of Leavitt’s castmates had been at a Sabrina Carpenter concert that night without her.

    In a joint interview before the screening, I spoke to both Whitneys about their reactions to the film and the proliferation of content about Utah women in the last few years. BELIEF and DISBELIEF embodied with bobs, sitting right next to each other in reclining theater chairs.

    So, first of all, I just want to know how your involvement with this event came to be. Online, on Reddit, and elsewhere, this screening became a must-attend event shrouded in secrecy. 

    Whitney Leavitt: Did it really?

    Yes. People didn’t even know how to get tickets and were apparently calling the movie theater, getting nowhere. How did it all come together? 

    Whitney Rose: I just got a call from a friend who said, “Can I have a friend reach out to your agent? Someone at A24 is a big fan of Real Housewives of Salt Lake City and Secret Lives of Mormon Wives. It was intense because I posted about the screening and shared the tag from A24, and all of a sudden, my DMs, my text messages, and my emails were blowing up with everyone wanting tickets.

    There’s something happening nationally right now where Utah is blowing up — not as a state but as a concept. And there’s something A24-ish about our fascination. Why are people looking at women in Utah with such fascination?

    Leavitt: I think it’s a lot of things besides our religion that happens culturally in Utah. Like, we’ve got our soda drinks. Yeah, we’ve got our “Utah Curl.” I don’t know if you’ve heard about it.

    Wait, I don’t know the Utah Curl. 

    Leavitt: The Utah Curl: It’s a specific curl that Utah girlies have.

    Rose: And I love all of your castmates a lot, but I despise the Utah Curl. You gotta curl your hair to the end.

    Leavitt: Or get a bob!

    I’ll say this. I couldn’t tell any of your Mormon Wives castmates on the show apart until about four episodes in. Besides you, Whitney. Because they all had that same hair. All gorgeous women, to be sure, of course …

    Leavitt: It’s a very trendy look. I think people were fascinated that we all looked a certain way, dressed a certain way, ate a certain way, and drank a certain way. But then, obviously, people were fascinated by the religion side of it too. And I also do appreciate both of our shows presenting a different perspective of the Mormon religion. Because I just feel like, worldwide, everyone thinks of Mormons in a certain way, right? But then you get to see a different side.

    Rose: I echo everything Whitney says. When you hear about Mormonism, your mind instantly goes to all of the things that they practiced in the past, like polygamy and multiple wives. Mormonism in and of itself, from the outside, looks strange. But when I was living in it, I didn’t view it that way. It’s just so normal to us, especially growing up here in Utah, right? Whitney and I grew up in what’s called “the bubble” of Utah County, and it’s just that everyone is the same. We all think the same, act the same, and have the same friends. All the moms drive the same cars. I mean, Mormon Wives shows that. They all have the same hair, except for Whit.

    Leavitt: The Utah Curl.

    Rose: Yeah, and I’m so glad that Whitney is paving the way there with her bob. It’s just fascinating when you have such a dense population of one religion and one culture. What people don’t realize is that there are so many different iterations and subcultures within that culture.

    Heretic has gotten a lot of pushback from the Mormon church. What is it so afraid of?

    Leavitt: Maybe they’re afraid of the filmmakers putting out false speculation or false doctrines. But when I watched, there’s nothing doctrinal about the church in it. Of course, there are Mormon missionaries, but I appreciated Hugh Grant’s character just giving a perspective of religion in general.

    Rose: I think the fear is that there are a lot of things that we don’t talk about or are told not to talk about within the church, whether they be sacred or things that were once true in the past but are no longer true in modern revelation. They’re scared of what’s going to be in it and what that means for their members.

    For me, this is easier to talk about because I’m not a member. I’ve removed my name from the church records. It’s just exposure. It’s fear of the unknown; it’s lack of control over one’s own narrative. It’s the same fear I have being on reality TV: We just show up and watch our edits.

    It’s fascinating to see you two here together like this, talking about the same faith from such different perspectives. I consider RHSLC to be the wackiest comedy on TV. And some of the relationship plotlines on Mormon Wives are the most depressing television I’ve ever seen. It was often hard for me to watch. And now, I’m about to see a whole different take on the Mormon genre within a horror film. 

    Rose: The writers and directors are brilliant with their use of horror and psychological thrill. It’s a cat-and-mouse game of: What do I believe? Do I really not? Am I just doing this because I was told to? It’s fascinating. I watched it last night on my laptop, and I was like this the whole time:

    [Rose mimics raising her paws up to her chest height expectantly, the laying-in-bed-watching-movies equivalent of being on the edge of her seat.]

    I was going, “Oh my God, I relate to this!”

    You didn’t serve a mission, correct?

    Rose: No, I didn’t, but I channeled my inner missionary with my look tonight.

    There’s a saints-sinners binary going on at this event, which was also a big part of Mormon Wives. Growing up Mormon in Utah County, did you feel confined to that binary of either being a saint or a sinner? Organized religion leaves very little room for dabbling in 60 percent of one thing and 40 percent of the other.

    Rose: From my perspective, the black-and-white was really hard. By design, religion in Utah is the culture. I was raised here, and people would know if you weren’t wearing your garments, people saw you at Starbucks, and people would know if I was drinking a glass of wine at dinner. By design, I didn’t feel I could live in a gray area. Now, this was 17 years ago. A lot has changed. Even us just sitting here together with such polar-opposite perspectives — I think Utah has evolved. You can interpret religion with your relationship to God versus the institution of religion.

    You’ve explored this on your show for years. I’m sure you’re aware of the memes. I talked to a Brigham Young University linguist about your “hilling” journey and the “fill/feel” merger present in the speech of millennial women in Utah, and I’ve never gotten such a response from people before about anything I’ve written. 

    Rose: That was like my top moment of a Housewife. I’m no longer LDS, but I come from a long line of Mormon pioneers. My family trekked across the entire United States to get here. I get so bad with words.

    When the linguist at BYU [David Ellingson Eddington, professor emeritus of Linguistics] talked to you for that article, I was so proud. I was so validated. I feel so seen. Someone understands my dialect and the way I talk.

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    Claire Carusillo

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