Connect with us

New York

A Robot Made My Lunch

Published

on

A Robot Made My Lunch

Good morning. It’s Friday. Today we’ll find out about restaurants that use robotic systems to make the dishes they serve. We’ll also get details on the settlement between former Mayor Rudolph Giuliani and the two Georgia election workers he defamed.

“Do you want to tip the robot?” my colleague Julie Creswell asked.

We were ordering salads on a touch pad at the Sweetgreen near Madison Square Garden. I had asked her to go to lunch there because she had written about restaurants that are experimenting with automation. That Sweetgreen location has been outfitted with an assembly-line-style conveyor belt and a computer-controlled system that puts the ingredients in the bowls.

Most of the ingredients, anyway. The system would mash the avocado and maul the salmon in our orders, and we ordered the miso sesame ginger dressing on the side, so workers behind the counter put the containers of dressing in after our bowls came off the conveyor belt. It had stopped beneath refrigerator-door-size units labeled “greens,” “grains,” “roasted,” “veggies,” “proteins” and “sauces.”

At each stop, ingredients dropped into the bowls — or not, if an order did not call for anything that could be dispensed there. For all the seeming uniformity of the assembly line, the units above the conveyor belt are not all alike: The last two have fans to keep the temperature down. Behind the “roasted” and “veggie” doors, there’s a heat-lamp glow.

Advertisement

The Sweetgreen location does not have robots with arms that can swing wide, like the ones that weld cars in automobile plants. Kernel — started by Steve Ells, who founded Chipotle in the 1990s — does, and discovered the hard way that the robot revolution has hiccups to smooth out. Ells shut down Kernel’s two Manhattan locations last month “to go to version 2.0.” The overhaul probably won’t be completed before March.

Sweetgreen’s system, called the Infinite Kitchen, harnesses automation for basic repetitive actions, like dropping the ingredients into the bowl. “Where preparation is repetitive, technology and automation are great,” Andrew Rigie, the executive director of the New York City Hospitality Alliance, an industry group.

Restaurant robots hold the potential to reduce labor costs over time, reshaping the work force. A study of “automatable work” in New York by the Center for an Urban Future several years ago found that 84 percent of the work done by restaurant cooks could be automated. “We’re going to continue to see more and more restaurants adopt automation in their operations,” Rigie said, “but we’re a far ways off from the Jetsons.”

One reason is that automated systems are expensive. Sweetgreen expects to spend as much as $550,000 on automation in each restaurant with automation that it opens this year. It is focusing on new locations because it’s not easy to retrofit a restaurant, squeezing bulky machinery into the tight spaces in a kitchen. Sweetgreen took seven weeks to overhaul the location near Madison Square Garden with the system that made our lunches.

Employees there still cook mainstays like chicken and brussels sprouts. They also slice vegetables. They feed those ingredients into the containers in the units above the conveyor belt. The system had to be modified to rotate the salad bowls as they go down the line so that the individual ingredients would land in different parts of the bowl, avoiding what Julie called “a lava-like overflow.” Sweetgreen also had to work out how to slice hard-boiled eggs automatically — and how much kale the system could handle. (Occasionally, some varieties get stuck.)

Advertisement

Sweetgreen says its automated systems can turn out churn out 500 bowls in an hour, compared with a top human speed of about 300. It also says that locations using the Infinite Kitchen system are considerably more profitable than the average: One in Naperville, Ill., has a profit margin of more than 31 percent, well above the 20.7 percent average for the chain.

As for our lunches, I let Julie do the ordering. She bypassed the choices on the board behind the counter and created one of her own, choosing spring mix, baby spinach, roasted sweet potatoes, cucumbers, avocado and miso glazed salmon, with miso sesame ginger dressing.

All but the last three went into the bowls on the conveyor belt. “They still have to have some intervention,” Julie said as a worker behind the counter put the avocados, the salmon and the dressings (in little cups) in our bowls.

The tablet we used to place the order said our salads would be ready in three to five minutes. My name was called about 6 minutes 30 seconds after Julie turned on the stopwatch function on her cellphone.

And the tip? I tapped the $2 option on the tablet — not enough, I now realize. I trust that the money will go to the person who put the avocado and salmon into the bowl.

Advertisement

Weather

Today will be sunny and breezy, with a high near 39. Tonight, clouds increase, and the temperature holds steady around 36.

ALTERNATE-SIDE PARKING

In effect until Monday (Martin Luther King’s Birthday).



Advertisement

It seems that Rudolph Giuliani will not have to give up his 10-room apartment on the Upper East Side, his Mercedes-Benz convertible or his signed Joe DiMaggio jersey.

He reached a settlement on Thursday with two Georgia election workers he had defamed. They stand to receive compensation — neither side said how much, and Giuliani, who had said the case had drained his financial resources, did not say where he would get any money to pay them. He also promised never to defame them again.

“The past four years have been a living nightmare,” the women said in a statement. “We have fought to clear our names, restore our reputations and prove that we did nothing wrong. With the settlement agreement, they said, “We can now move forward with our lives.”

Until Thursday, it had appeared that Giuliani’s baseless claims about the workers would cost him millions of dollars in assets. He had been found liable for defaming the two women, Ruby Freeman and her daughter, Shaye Moss; he said repeatedly that they had manipulated ballots in an effort to steal the 2020 election from Donald Trump. A jury awarded Freeman and Moss $148 million in late 2023. Giuliani filed for bankruptcy and, after missing several deadlines to turn over his assets, was held in contempt of court earlier this month.

Joseph Cammarata, a lawyer for Giuliani, said that his client was satisfied with the outcome. But he declined to discuss the status of sanctions that Giuliani faced for being found in contempt in two courts tied to the defamation case.

Advertisement

The settlement came after a dramatic day in court in Manhattan. Giuliani had been expected to take the stand to plead for the right to keep an apartment in Florida and three World Series rings from the Yankees. But he never showed up.

His son, Andrew Giuliani, had also been expected to take the witness stand to say that the three rings should not be seized because the former mayor had given them to him. After the settlement was announced, Andrew Giuliani said that he was keeping the rings.

Dear Diary:

I’ve taken the A to work for 20 years. And for 20 years, I’ve done puzzles on the train during the ride.

I didn’t think there could be any more firsts for me on my commute after so long until a recent morning.

Advertisement

As I sat there working on a Sudoku puzzle, a man stood over me telling me where to put the numbers.

At first, I was inclined to tell him he was out of line. Instead, I complimented him on his ability to read backward, and we did the Sudoku together until he got off the train.

— Sandra Feldman

New York

Read the Ruling on the Judgment Against Trump in the E. Jean Carroll Case

Published

on

Read the Ruling on the Judgment Against Trump in the E. Jean Carroll Case

Case: 24-644, 09/08/2025, DktEntry: 134.1, Page 28 of 70

statements at issue in this case were made three years earlier than the statement

in Carroll II, the statements were identical in material respects because both

accused Carroll of fabricating the sexual assault allegations for improper
purposes. Compare supra pp. 6-8 (June 2019 statements), with supra pp. 13-14 (October 2022 statement). 14
The truth or falsity of Trump’s statements in both 2019 and 2022
turned on whether Carroll was lying, that is, whether Trump sexually assaulted Carroll in 1996, irrespective of the specific sexual act committed. 15 The jury in

14



For example, in the 2022 statement which the Carroll II jury determined to be false — Trump stated, among other things: “I have no idea who [E. Jean Carroll] is.” Carroll, 690 F. Supp. 3d at 401. In the June 21, 2019 statement at issue here, Trump said: “I’ve never met this person in my life.” App’x at 1887. Moreover, in the 2022 statement, Trump said: “She completely made up a story that I met her . . . and, within minutes, ‘swooned’ her. It is a Hoax and a lie,” “it never happened,” and “for the record, E. Jean Carroll is not telling the truth, is a woman who I had nothing to do with, didn’t know, and would have no interest in knowing her if I ever had the chance.” Supp. App’x at 108. In the June 21, 2019 statement, Trump said: “Shame on those who make up false stories of assault to try to get publicity for themselves,” “I would like to thank Bergdorf Goodman for confirming that they have no video footage of any such incident, because it never happened,” and “[f]alse accusations diminish the severity of real assault.” App’x at 1887.

15

In other words, the application of issue preclusion to the falsity element is proper because Trump’s 2019 and 2022 statements did not turn on the specific sexual act he committed. He did not deny, for example, digital penetration specifically. In all statements, he denied any sexual assault, full stop. The Carroll II jury found Trump’s 2022 statement to be false because it found that he sexually abused Carroll. See Tannerite Sports, LLC v. NBCUniversal News Grp., a division of NBCUniversal Media, LLC, 864 F.3d 236, 242 (2d Cir. 2017) (Under New York law, “to satisfy the falsity element of a

28

Continue Reading

New York

13 Off Broadway Shows to See in September

Published

on

13 Off Broadway Shows to See in September

Henrik Ibsen’s searing dissections of bourgeois hypocrisies appear to be in sync with our angry times. The Norwegian playwright is even getting high-profile movie adaptations, with the Tessa Thompson-starring “Hedda” dropping in October. In New York, Simon Godwin’s production of this semi-obscure effort from 1884, about a family’s secrets coming to light, follows recent revivals of “An Enemy of the People,” “A Doll’s House” and “Ghosts.” (Through Sept. 28, Theater for a New Audience)

In their hip-hop musical, Nygel D. Robinson and Brian Quijada portray an enslaved man and the sharecropper-turned-soldier he meets at the Rio Grande. The story looks at a different kind of Underground Railroad while also connecting to our current turbulence with an era-transcending message of solidarity. David Mendizábal directs the two-man show, which is part of Audible Theater’s series. (Sept. 9-Oct. 11, Minetta Lane Theater)

Grier Mathiot and Billy McEntee’s lovely “The Voices in Your Head” was staged for about 20 people at a time in a storefront church last year. McEntee’s “Slanted Floors” goes even smaller: The actors Kyle Beltran and Adam Chanler-Berat portray a couple living out their domesticity under the watch of five audience members in a Brooklyn apartment. (Sept. 9-Oct. 10, Slanted Floors Play).

A collaboration between Hansol Jung (“Wolf Play”) and the collective The Pack, co-directed by Jung and Dustin Wills, “Last Call, a Play with Cocktails” takes place in various New York City apartments, so the audience size varies depending on where the show lands on any given day. One constant: There will be drinks. (Sept. 19-Oct. 13, En Garde Arts)

Alec Duffy’s original staging of “Family,” an early work by the playwright-turned-filmmaker Celine Song, took place in a Brooklyn apartment for audiences of about 30. The production — outré, operatically gothic, near-feral at times — is returning for an encore run, but in a more traditional theatrical space. Let’s see how Duffy recalibrates the show. (Sept. 12-28, La MaMa)

Advertisement

“Can you be Black and not perform?” Such is the question driving Eisa Davis’s new piece, in which she leads a cast of four. A Pulitzer Prize finalist for her haunting play “Bulrusher” and the co-creator of the concept album “Warriors” with Lin-Manuel Miranda, Davis remains a frustratingly underrecognized writer and performer with a lyrical, fiercely poetic voice all her own. Here is an opportunity to watch her confront and subvert the expectations placed on Black artists. (Sept. 10-28; Here Arts Center)

John Leguizamo’s stage career is paved with solo shows, sometimes autobiographical, in which he brings to life a gallery of characters. At first glance it looks as if his latest piece might be more of the same since it involves a Colombian American New Yorker, like the writer-performer himself. But while Leguizamo does play that central character, Nelson, he is far from alone onstage: “The Other Americans,” directed by Ruben Santiago-Hudson, is a family drama with an actual cast — it’ll be exciting to watch Leguizamo jostle with costars. (Sept. 11-Oct. 19, Public Theater)

Chloë Grace Moretz was only 17 when she starred in Scott Z. Burns’s “The Library” at the Public Theater, in 2014, but her screen career was already buzzing. Still, few expected that it would take over a decade for Moretz to return to the New York stage. At long last here she is again, under the direction of the ever-reliable David Cromer (whose recent credits include “Dead Outlaw” and “Good Night, and Good Luck”). The three characters in Preston Max Allen’s new play are all members of one family, with Moretz in the middle as the daughter of the character played by Amy Landecker (“Transparent”) and the mother of young Caroline (River Lipe-Smith). (Sept. 12-Oct. 19, MCC Theater)

After its successful country musical “Music City” last year, the Bedlam company returns to one of its foundational authors: Jane Austen (Kate Hamill’s adaptation of “Sense and Sensibility” was an early Bedlam hit in 2014). Now Emily Breeze’s new take on “Pride and Prejudice” looks like it’s going to have fun with the Regency superstar’s best-seller: “I haven’t reread the source material since I skimmed it in high school,” Breeze claims. (Sept. 14-Oct. 19, West End Theater)

After dedicating a decade to his “Rhinebeck Panorama” project, which includes the Apple, Gabriel and Michael family cycles, the writer-director Richard Nelson set out for war-torn Kyiv to work with the local Theater on Podil on a staging of his 2008 play “Conversations in Tusculum.” So inspired was he by the experience that he wrote the company this piece, about Ukrainian actors performing “Macbeth” in 1920. The resulting production (in Ukrainian with English supertitles) settles at Nelson’s frequent artistic home, the Public Theater, for a short run. (Sept. 16-21, Public Theater)

Advertisement

These days weather reporters like Stacey (Julia McDermott) are called upon to deliver apocalyptic accounts of a world either drowning in floods or bursting into flames along with their forecasts. Written by Brian Watkins (the creator of the time-travel Western series “Outer Range”), this solo play straddles satire and warning. (Sept. 16-Oct. 12, St. Ann’s Warehouse)

The most intriguing pairing this month may well be that of Elizabeth Marvel and Tim Blake Nelson. They are not onstage together, though: Marvel stars in this new play by Nelson, who somehow finds time to write (he also has a novel, “Superhero,” coming out in December) in between gigs as an ur-character actor (next up: the film “Bang Bang” and the series “The Lowdown”). Marvel plays a lawyer in a near-future society where the justice system is even more out of whack than our current one. (Sept. 19-Nov. 2, La MaMa)

The title character of Monet Hurst-Mendoza’s play is a young Mexican woman, portrayed by Jacqueline Guillén, who yearns to make a space for herself in bullfighting — which the WP Theater’s site noncommittally refers to as “a controversial practice that we neither condemn nor condone.” Tatiana Pandiani choreographs and directs. (Sept. 20-Oct. 19, WP Theater)

Sally Carson’s play premiered in Britain in 1935 and takes place just a couple of years earlier, in Germany — you can guess what the title refers to. The show, based on Carson’s own novel, presciently tracks the rise of Nazism through the prism of a divided Bavarian family. (Sept. 20-Nov. 1, Mint Theater)

N.Y.U. Skirball plays a vital role in the New York cultural ecosystem by programming radical theatermakers from around the world, albeit for blink-and-you’ll-miss-them runs. Such is the case with this piece by the experimental German company Rimini Protokoll (“Remote New York”) in which Helgard Haug intertwines the disappearance of a Malaysia Airlines flight in 2014 with her father’s slide into dementia. Bonus: a live score by the exquisite Berlin-based musician Barbara Morgenstern and Zafraan Ensemble. (Sept. 25-27, N.Y.U. Skirball)

Advertisement
Continue Reading

New York

Take a Closer Look at These ‘Great’ New York City Trees

Published

on

Take a Closer Look at These ‘Great’ New York City Trees
Species Magnolia grandiflora

In 1968, this magnolia tree, then over 40 feet tall, was supposed to be cut down to make way for an apartment complex. Hattie Carthan jumped into action. Ms. Carthan, an environmentalist and activist in the Black community, moved to Brooklyn in 1928 and had a deep love for trees. In 1966, she founded the Bedford-Stuyvesant Beautification Committee, which planted more than 1,500 trees and also taught youth groups about caring for them — not a popular mission at the time. “When I first suggested that we buy trees, I almost got thrown out of the block association,” Ms. Carthan told The New York Times in 1975. “They said, ‘Oh, trees make leaves and you have to sweep.’”

Ms. Carthan was so determined to save the magnolia on Lafayette Avenue, which was estimated to have been planted in about 1885, that she campaigned for it to be designated by the city’s Landmarks Preservation Commission as a living landmark — and won. Today it is the sole remaining landmark tree in New York City.

In 1972, Ms. Carthan created the Magnolia Tree Earth Center, which, despite her death in 1984, continues to educate young people about environmental issues. The center is facing financial hardship, but there is hope that it will be revitalized, said Wayne Devonish, the chairman of its board. “We need to embrace all that it represents in terms of being like a little urban oasis, smack dab in central Brooklyn,” he said. “If we show the tree, and the center, love, hopefully there’s another good 100 — or 200 — years.”

Continue Reading
Advertisement

Trending