The menu at Jean-Georges Vongerichten’s new vegetarian restaurant in the Flatiron district tries to impart “plant-based intelligence.”
NYS Entity Status
NYS Filing Date
JANUARY 13, 2014
NYS DOS ID#
NYS Entity Type
DOMESTIC PROFESSIONAL CORPORATION
2014 - GEORGE KOVACS MD, P.C.
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- James Gunn’s Touching Tribute to Horror Film Great George Romero
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James Gunn’s Touching Tribute to Horror Film Great George RomeroWith the passing of Romero at 77 on Sunday after a brief battle with lung cancer, Gunn took to Facebook to express his gratitude to the man who inspired his creativity and was, as Gunn put it, “a part of my life for a long, long time, in so many different ways.”Read original story James Gunn’s Touching Tribute to Horror Film Great George Romero At TheWrap
- ‘The Mindy Project': Ike Barinholtz ‘Started Crying’ When Mindy Kaling Wrote His Injury Into Final Season
By Carli Velocci, provided by
- Thursday Jul 27, 2017
‘The Mindy Project': Ike Barinholtz ‘Started Crying’ When Mindy Kaling Wrote His Injury Into Final SeasonThe actor broke his neck while performing a stunt on his upcoming filmBarinholtz, who plays Nurse Morgan Tookers, broke his neck a few weeks ago while performing a fall stunt on his upcoming film “The Pact.”According to People, Barinholtz had two fractured cervical vertebrae in his neck, is now prescribed to wear a brace by doctors.“Luckily, I’ve had great doctors who have really helped me with my recovery,” he told People.Barinholtz was on the top of his comedy game at the panel, cracking jokes and jumping in to tout his (not real) connections to Oprah Winfrey and how he’s still the Elliot Gould of the series.
- In divisive ‘Twin Peaks, Part 12,’ Lynch raises his horn to Jerry (Lewis) and Richard (Lester)
By Carlos Valladares - Monday Jul 31, 2017
The Audrey Scene, which clocks in at an unbearable 10 minutes, is representative of most “Part 12” sequences, which are filled with gratuitous pauses, repetitions of obvious facts (Billy is missing, Gordon has a thing for French girls), and maddeningly circular dialogue which asserts an established fact every third line (the flat-footed Ben Horne and Frank Truman scene). Depending on your mood, you’ll either come out of this episode groaning at an “obvious” filler episode—or ugly-cackling, unable to stop, at Lynch’s and Frost’s audacity to screw with our heads while reminding us, “Enjoy the journey, y’all.” [...] of whether or not these names come back again (at this point in time, it frankly doesn’t matter), the Audrey Scene is pitched at a level of surreality that, consciously or not, calls up three masters of toying with audience expectations through unexpected humor. The spirit of the British-American director’s absurd ‘60s films (which, aside from maybe the Beatles films, regularly piss off the audience and make them feel uncomfortable or bitter) rubs off on “Part 12.” Lester’s humor pops up in one of Part 12’s many cutaway gags, we see stoned Jerry Horne running toward the camera in an open field, only to fall flat on his face halfway through the run; it’s hard not to think of Lester’s debut short, “The Running Jumping & Standing Still Film” (1959), also set in a lush green field and ending in a similar gag. [...] Lester seriousness also takes over that discomforting supermarket scene, where Sarah Palmer has a nervous breakdown while looking at turkey jerky; its volcanic moodiness feels like the supermarket scene in “Petulia,” when George C. Scott’s and Julie Christie’s anxiety with a belligerent hippie shopper is expressed, not through demented backward synths and a starchy tableau à la Lynch, but with dead silence and agitated New Wave editing. Even though the gag isn’t strictly Kovacsian (it would need surrealism on the technical side—which does occur throughout the series, like when Sonny Jim blinks backwards twice in a car), it absolutely has the Kovacs timing (awkward silences; gags where the premise is quickly established and milked, funk-style, for minutes at a time), sneak mode-of-attack (you don’t expect such a shockingly foreshortened scene), and accidental social message (the decline of the apple pie, dad-n-son bond in modern pop culture). Kovacs’ and Lynch’s time-trolling make the audience pay closer attention, because you never know when the next gag/scene will start up. In a scene that plods on for three minutes, Marlohe’s act of putting back her shoes and makeup turns into a ridiculous parody of sexy female behavior—just as Lewis’ awkward, spastic man-boy was a send-up of the male sex drive. Like Lester, Lewis is essentially a comic artist—which makes his inevitable strays into autobiographical seriousness (he imagines his own suicide in 1983’s “Smorgasbord”) all the more discomfiting to an audience who expect one thing and get something they didn’t bargain for. To the hellish sounds of “Fire Walk With Me,” Sarah, disturbed by a brand of turkey jerky, yells at the baffled Millennial clerks in a schizoid panic-attack that “Something happened to me!” and “Men are coming.”