Arts & Entertainment
Rehoboth’s food scene offers exciting new options
Bodhi to debut, JAM’s new location features expansive roof deck, and more
The food scene in Rehoboth is always changing and bringing something new to the table and 2023 is no exception.
As the popular beach town continues to evolve, locals and tourists alike have more options than ever for nightlife and dining.
From Asian fusion to a speakeasy, there’s no shortage of new food to try, new drinks to sip, and new things to do.
Bodhi and Drift
Second Block Restaurant Group — owner of favorites like The Pines and Aqua Grill — is bringing Southeast Asian fare to 1st Street. This comes only a year after Drift opened on Baltimore Avenue, a high-end seafood restaurant and raw bar.
Bodhi’s dining experience was described by its owner as an Asian fusion experience inspired by street food. The corporate chef of Second Block, Lion Gardner, has traveled extensively in Southeast Asia, inspiring a shared vision among the owners of a place for dishes like dumplings and noodles.
The restaurant will occupy the spot that was held for many years by Lily Thai, which closed a few years ago after a very successful run. Now, Second Block hopes to bring Asian cuisine back to downtown Rehoboth in that space, most recently occupied by Square One Grill. As of this writing, Bodhi had not yet opened, though the chef has been testing the menu at takeover events in sister restaurant The Pines each Sunday until opening the new space.
The Second Block Restaurant Group is fairly new to the Rehoboth scene. It was only recently that Drift, The Pines, and Aqua all merged to form the group, with Bodhi as the next restaurant under the umbrella.
Tyler Townsend, who represents Bodhi, spoke about the impact that Second Block hopes to have on the gay community in Rehoboth. He spoke extensively about the group’s desire to maintain and expand LGBTQ culture through events like drag shows.
“We opened The Pines to bring something to Rehoboth that we felt was missing. Provincetown is my favorite place in the world to go, and we just felt like Rehoboth was missing an opportunity to bring in big name acts and provide a different level of entertainment than what was in the town.”
Townsend says that Rehoboth is evolving from the house party scene that he saw in years past to the bustling vacation center it is now. Second Block is committed to ensuring that gay community and culture not only stay alive in Rehoboth, but remain a focal point of the town.
JAM’s new location
The duo of Eden and JAM has been a mainstay on Baltimore Avenue for years. The sister restaurants provide two distinct yet equally elevated experiences of quality drinks, food, and service.
Owners Jeff McCracken and Mark Hunker have been providing both Rehoboth and D.C. with some of the best eats around for decades. Now, JAM has taken over the corner of Bayard and Wilmington, in the building occupied last year by UnWined at the Beach. There have been a number of businesses in and out of that space over the past few years — most notably the much-missed Azzurro — so a popular spot like JAM will give it some stability.
More importantly, South Rehoboth now has another high-end restaurant in its backyard. With Henlopen City Oyster House, Mariachi, Salt Air, and now JAM, there’s no shortage of elevated cuisine on the other side of Rehoboth Avenue.
“People keep telling us ‘Oh, I live on King Charles’ or ‘Oh, I live on Munson’ and they’re so excited for us to be there, because they never make the trip across Rehoboth Avenue,” said McCracken.
“For those of you that are familiar with JAM, we’ve kept all the favorites and we’ve added some really great new items to the menu. We’ve also added a really special new cocktails and pub menu for the rooftop.”
Bethany Blues takes over Nicola
If you walk into the now former home of Nicola Pizza and find yourself eating ribs, don’t be alarmed. The 1st Street space has been taken over by the group that owns Delaware barbecue mainstay Bethany Blues and nearby Dewey institution Starboard.
Downtown Blues, the newest member of that family, will feature a menu similar to Bethany Blues, but with its own Rehoboth twist. Owner Jessica Nathan elaborates:
“Being in the downtown area, we feel like we have an opportunity to highlight some fun, seasonal dishes that we can change up more frequently as we have a different flow of guests through the season. It will be a little bit smaller in terms of [Bethany Blues] everyday menu, but a little bit larger in terms of the seasonal menu.”
In addition to a tweaked menu, Downtown Blues will feature a Bourbon bar, and more emphasis on delivery. While Nathan says that Downtown Blues is a restaurant with full service and a bar, it also provides an easier opportunity for delivery and carryout to the immediate Rehoboth community.
Nicola finds new home
Nicola has been a mainstay of Rehoboth longer than this author has been alive. But, like the iconic Boardwalk Dolle’s sign before it, all great things must go, and it seems the Nicaboli is no exception. The Nicola sign now hangs in Lewes, in a giant newly constructed space.
Nick Caggiano Jr., part of the Caggiano family that owns Nicola, emphasized the importance of accessibility as the reasoning for the move. When asked what the benefit was of moving into Lewes, Caggiano didn’t hesitate.
“We have a big, free parking lot. As you know, in Rehoboth, two things happen. The nine months that there’s no meters, it’s still very hard to park in front of my restaurants, because the town has grown so much, which is great. The other two and a half months, you have to pay for parking, and a lot of the locals didn’t want to pay for parking. We also found that a lot of people would drive to dine with us and couldn’t find a parking spot, so they’d just leave. Here, we have 170 parking spots, it’s always free, and you can just park right in front of my restaurant and walk in.”
Caggiano also spoke about the benefits of having a wider customer base in Lewes. “I consider where I’m at to be the suburbs of Lewes, Rehoboth, and Milton” Caggiano explained.
With this more centralized location, it’s much easier for diners to make the trip to Nicola and feel confident that they can actually dine at Nicola.
First State Corn comes to the boardwalk
The food truck that once parked in the Aldi’s parking lot has finally hit the big time. The newest addition to the first block of Rehoboth Avenue is First State Corn. Here, customers can enjoy specialties like elote in a cup, Cuban sandwiches, and fried plantains.
The work of Chef James, who co-owns the truck, is seeped in the culture of his upbringing. Growing up in Miami, James wanted to cook the food that reflected Miami street food. He does cook it, and he cooks it extremely well. Nothing at First State Corn disappoints.
The truck actually started in Florida, but James moved to Delaware to be closer to his wife’s family. What started as a tent and three tables evolved into a food truck, and now it’s evolved into a full restaurant.
First State offers incredible food unique to the area, perfectly situated for the boardwalk location. Just run off the beach around noon and grab a cubano with a lemonade.
Libation Room brings the speakeasy to town
The speakeasy concept has been a growing trend in cities like D.C. and New York the past few years, and now the new owner of Summer House is bringing that exciting concept to Rehoboth.
Basically, do you want to go to a bar but sit on a couch? And feel kinda cool when you “get in” to the back room? Then a speakeasy is for you.
Behind the lively dining room and live music of Summer House, diners can now find the Libation Room. Here, you can find something more akin to a lounge setting.
Speaking to Regan Dickerson, who purchased Summer House last year, you’ll know no expense has been spared on the Libation Room and the various, well, libations. The room has been soundproofed so live music can take place in both venues at once. Lounge seating is available for reservation or general entry, and the bar in the back has an entirely different set of craft cocktails for customers to try.
This brings a late night option to the people in Rehoboth who don’t want to head all the way to Dewey for a lively night out.
Also new are Crushers, a crab shack in the former home of Port 251, which also owns Cup’r Cone in the parking lot; and Tiki Jac’s, a new bar in the former Nicola Pizza space on Rehoboth Avenue.
Sports
US wins Olympic gold medal in women’s hockey
Team captain Hilary Knight proposed to girlfriend on Wednesday
The U.S. women’s hockey team on Thursday won a gold medal at the Milan Cortina Winter Olympics.
Team USA defeated Canada 2-1 in overtime. The game took place a day after Team USA captain Hilary Knight proposed to her girlfriend, Brittany Bowe, an Olympic speed skater.
Cayla Barnes and Alex Carpenter — Knight’s teammates — are also LGBTQ. They are among the more than 40 openly LGBTQ athletes who are competing in the games.
The Olympics will end on Sunday.
Movies
Radical reframing highlights the ‘Wuthering’ highs and lows of a classic
Emerald Fennell’s cinematic vision elicits strong reactions
If you’re a fan of “Wuthering Heights” — Emily Brontë’s oft-filmed 1847 novel about a doomed romance on the Yorkshire moors — it’s a given you’re going to have opinions about any new adaptation that comes along, but in the case of filmmaker Emerald Fennell’s new cinematic vision of this venerable classic, they’re probably going to be strong ones.
It’s nothing new, really. Brontë’s book has elicited controversy since its first publication, when it sparked outrage among Victorian readers over its tragic tale of thwarted lovers locked into an obsessive quest for revenge against each other, and has continued to shock generations of readers with its depictions of emotional cruelty and violent abuse, its dysfunctional relationships, and its grim portrait of a deeply-embedded class structure which perpetuates misery at every level of the social hierarchy.
It’s no wonder, then, that Fennell’s adaptation — a true “fangirl” appreciation project distinguished by the radical sensibilities which the third-time director brings to the mix — has become a flash point for social commentators whose main exposure to the tale has been flavored by decades of watered-down, romanticized “reinventions,” almost all of which omit large portions of the novel to selectively shape what’s left into a period tearjerker about star-crossed love, often distancing themselves from the raw emotional core of the story by adhering to generic tropes of “gothic romance” and rarely doing justice to the complexity of its characters — or, for that matter, its author’s deeper intentions.
Fennell’s version doesn’t exactly break that pattern; she, too, elides much of the novel’s sprawling plot to focus on the twisted entanglement between Catherine Earnshaw (Margot Robbie), daughter of the now-impoverished master of the titular estate (Martin Clunes), and Heathcliff (Jacob Elordi), a lowborn child of unknown background origin that has been “adopted” by her father as a servant in the household. Both subjected to the whims of the elder Earnshaw’s violent temper, they form a bond of mutual support in childhood which evolves, as they come of age, into something more; yet regardless of her feelings for him, Cathy — whose future status and security are at risk — chooses to marry Edgar Linton (Shazad Latif), the financially secure new owner of a neighboring estate. Heathcliff, devastated by her betrayal, leaves for parts unknown, only to return a few years later with a mysteriously-obtained fortune. Imposing himself into Cathy’s comfortable-but-joyless matrimony, he rekindles their now-forbidden passion and they become entwined in a torrid affair — even as he openly courts Linton’s naive ward Isabella (Alison Oliver) and plots to destroy the entire household from within. One might almost say that these two are the poster couple for the phrase “it’s complicated.” and it’s probably needless to say things don’t go well for anybody involved.
While there is more than enough material in “Wuthering Heights” that might easily be labeled as “problematic” in our contemporary judgments — like the fact that it’s a love story between two childhood friends, essentially raised as siblings, which becomes codependent and poisons every other relationship in their lives — the controversy over Fennell’s version has coalesced less around the content than her casting choices. When the project was announced, she drew criticism over the decision to cast Robbie (who also produced the film) opposite the younger Elordi. In the end, the casting works — though the age gap might be mildly distracting for some, both actors deliver superb performances, and the chemistry they exude soon renders it irrelevant.
Another controversy, however, is less easily dispelled. Though we never learn his true ethnic background, Brontë’s original text describes Heathcliff as having the appearance of “a dark-skinned gipsy” with “black fire” in his eyes; the character has typically been played by distinctly “Anglo” men, and consequently, many modern observers have expressed disappointment (and in some cases, full-blown outrage) over Fennel’s choice to use Elordi instead of putting an actor of color for the part, especially given the contemporary filter which she clearly chose for her interpretation for the novel.
In fact, it’s that modernized perspective — a view of history informed by social criticism, economic politics, feminist insight, and a sexual candor that would have shocked the prim Victorian readers of Brontë’s novel — that turns Fennell’s visually striking adaptation into more than just a comfortably romanticized period costume drama. From her very opening scene — a public hanging in the village where the death throes of the dangling body elicit lurid glee from the eagerly-gathered crowd — she makes it oppressively clear that the 18th-century was not a pleasant time to live; the brutality of the era is a primal force in her vision of the story, from the harrowing abuse that forges its lovers’ codependent bond, to the rigidly maintained class structure that compels even those in the higher echelons — especially women — into a kind of slavery to the system, to the inequities that fuel disloyalty among the vulnerable simply to preserve their own tenuous place in the hierarchy. It’s a battle for survival, if not of the fittest then of the most ruthless.
At the same time, she applies a distinctly 21st-century attitude of “sex-positivity” to evoke the appeal of carnality, not just for its own sake but as a taste of freedom; she even uses it to reframe Heathcliff’s cruel torment of Isabella by implying a consensual dom/sub relationship between them, offering a fragment of agency to a character typically relegated to the role of victim. Most crucially, of course, it permits Fennell to openly depict the sexuality of Cathy and Heathcliff as an experience of transgressive joy — albeit a tormented one — made perhaps even more irresistible (for them and for us) by the sense of rebellion that comes along with it.
Finally, while this “Wuthering Heights” may not have been the one to finally allow Heathcliff’s ambiguous racial identity to come to the forefront, Fennell does employ some “color-blind” casting — Latif is mixed-race (white and Pakistani) and Hong Chau, understated but profound in the crucial role of Nelly, Cathy’s longtime “paid companion,” is of Vietnamese descent — to illuminate the added pressures of being an “other” in a world weighted in favor of sameness.
Does all this contemporary hindsight into the fabric of Brontë’s epic novel make for a quintessential “Wuthering Heights?” Even allowing that such a thing were possible, probably not. While it presents a stylishly crafted and thrillingly cinematic take on this complex classic, richly enhanced by a superb and adventurous cast, it’s not likely to satisfy anyone looking for a faithful rendition, nor does it reveal a new angle from which the “romance” at its center looks anything other than toxic — indeed, it almost fetishizes the dysfunction. Even without the thorny debate around Heathcliff’s racial identity, there’s plenty here to prompt purists and revisionists alike to find fault with Fennell’s approach.
Yet for those looking for a new window into to this perennial classic, and who are comfortable with the radical flourish for which Fennell is already known, it’s an engrossing and intellectually stimulating exploration of this iconic story in a way that exchanges comfortable familiarity for unpredictable chaos — and for cinema fans, that’s more than enough reason to give “Wuthering Heights” a chance.
Crimsyn and Tatianna hosted the new weekly drag show Clash at Trade (1410 14th Street, N.W.) on Feb. 14, 2026. Performers included Aave, Crimsyn, Desiree Dik, and Tatianna.
(Washington Blade photos by Michael Key)
US wins Olympic gold medal in women’s hockey
Justicia reconoce delito de odio en caso de bullying en Instituto Nacional Mejía de Ecuador
Radical reframing highlights the ‘Wuthering’ highs and lows of a classic
4th Circuit rules against discharged service members with HIV
PHOTOS: Clash
‘Heated Rivalry’ fandom exposes LGBTQ divide in Baltimore
Home is where the heart is
Deon Jones speaks about D.C. Department of Corrections bias lawsuit settlement
European Parliament resolution backs ‘full recognition of trans women as women’
LGBTQ groups question US health agreements with African countries
-
Baltimore3 days ago‘Heated Rivalry’ fandom exposes LGBTQ divide in Baltimore
-
Real Estate3 days ago
Home is where the heart is
-
District of Columbia3 days ago
Deon Jones speaks about D.C. Department of Corrections bias lawsuit settlement
-
European Union3 days ago
European Parliament resolution backs ‘full recognition of trans women as women’
