Top 10 Reader Favorites From the 100 Best New York Restaurants
On Tuesday, we published our 2025 list of the 100 Best Restaurants in New York City, including a ranked top 10. Using our new checklist feature, readers were able to tell us their favorites — or at least the ones they had visited most — and the ones they wanted to try. Here are the 10 most-visited spots. They include several longstanding New York destinations, but also a couple of relative newcomers. Some of the city's most celebrated fine-dining rooms appear, but so does a Brooklyn sandwich shop. (Down the list a bit, look for a major point of agreement between our critics and the dining public.)
1. Gramercy Tavern
It's little surprise that so many readers have found their way to the convivial spaces of this bona fide New York classic. It has been the domain of many notable chefs over its 31 years, including Tom Colicchio and the pastry virtuoso Claudia Fleming, who opened the restaurant in 1994. Something of an in-the-know option for years, the front tavern room now goes full-tilt, and can be harder to get into than the main dining room. But walk-in bar spots are still a great option.
2. Le Bernardin
Like Gramercy Tavern, Le Bernardin has longevity on its side: The restaurant, perched at No. 3 on our top 100, first received four stars from The New York Times in 1986, and has kept those four stars in every review since, most recently in 2023. As our critic Melissa Clark put it, Eric Ripert, the chef since 1994, 'consistently takes big swings, like his stunning signature ellipse of pounded raw tuna layered with foie gras, and somehow never misses. Even mild-mannered fluke — enveloped in a fragrant dill- and yuzu-infused apple broth — vibrates with flavor in his expert hands.'
3. Via Carota
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‘People Are Going To See Something They've Never Seen Before': How Pixar's Next Hit Film Was Made
Fans of laughing out loud one moment and crying into your popcorn bucket the next are in for a treat with Pixar's latest release. Elio is the newest offering from the award-winning animation studio, centring around a lonely boy who becomes obsessed with the idea of being abducted by aliens – and gets more than he bargained for when his dream comes true. As has come to be expected from the studio that gave us the likes of Inside Out, Coco and Toy Story 3, Elio dives into some pretty hefty themes, exploring everything from loneliness and grief to toxic masculinity, all with Pixar's signature sense of humour and adventure to keep younger viewers as gripped as everyone else in the cinema. In the lead-up to the film's release, we spoke to directors Madeline Sharafian and Domee Shi about how sci-fi horror had a surprising influence on Elio, creating something people have 'never seen before' with their unique take on space and releasing an original film in the current sea of sequels and live-action remakes at Walt Disney Studios… Right at the beginning of the film, there's a key scene soundtracked by Talking Heads' Once In A Lifetime. Why was that song chosen, and how easy was it to get? Madeline Sharafian: That scene and that song were in the film from the beginning that Domee and I started. That montage of Elio going out to the beach every day, desperately trying to be abducted, was almost the way that we explored his character as we changed his motivations to wanting to be abducted by aliens. And I think the song was [Domee's] idea of just a way to showcase that he's stuck in this cycle, and he wants to get out. It was a great idea. Domee Shi: Yeah, I always loved that song, I always felt like David Byrne kind of gave off alien boy vibes as well. And the way that the song starts always sounded kind of synthy and celestial and spacey in some way. I felt like there was a connection between Byrne and Elio, and it felt like a cool needle drop choice to put in this montage where we're introduced to Elio's obsession with getting abducted, but being unable to, every single day that went by. MS: It helped a lot that Pete Docter and Jim Morris, our company leadership, really like that song. So I do think that kind of helped us hang onto it and get it for the final, and we're very grateful that we got to keep it. It adds so much to the scene. DS: There was one moment where we did try another song… MS: Oh god, yeah… DS: I was like, 'what about Beastie Boys' Intergalactic?'. And then we tried that for a minute and we were like, 'no, I think we miss Talking Heads', and we went back to that. And also I feel like I haven't really seen [Once In A Lifetime] used a lot in media, in like TV or movies, whereas Intergalactic is used quite a lot. I love that song, though! But yeah… Something else people are going to pick up on is Elio's eyepatch. It really works as a plot device later in the film, but was that always going to be there, or were other ideas explored? MS: It was always an eyepatch, I'm pretty sure. I mean, the eyepatch was there in Adrian Molina's original version [Coco writer and director Adrian Molina originally conceived the idea of Elio to helm the film himself, but left the project halfway through to focus on Coco 2, at which point Madeline and Domee took over as lead directors]. When we took the story, we loved [the eyepatch], just as a way that it supports Elio's feeling of otherness, when he's on Earth, he feels even more out of place. And when he goes to space, all of a sudden, he looks like a dashing space sci-fi captain with this cape and his eyepatch, and the aliens love it, it's like '[you have] one eye, [I have] one eye, this is amazing'. All of a sudden it's accepted and loved. DS: Yeah, it's been great seeing the response to Elio's eyepatch online and with audience members that have come up to us and thanked us for including a kid with an eyepatch – it is something that kids do deal with, and it makes them feel othered. And it sucks! To have a sci-fi hero in a Pixar movie sporting one and looking cool I think is very empowering. Let's talk about the look of the film – sci-fi is a huge genre and even within the Disney and Pixar canon, we've been to space a few times. How did you decide what your version of space was going to look like, and what was going to set the Elio universe apart? MS: Pixar has done two sci-fi movies already [2008's Wall-E and 2022's Lightyear] and Harley Jessup, our production designer, really wanted to shoot for a version that we've never seen. So, he knew that the Communiverse needed to be this sort of beautiful almost Utopia, that there would be aliens from all over the universe gathering there, and almost designed it, one of his very first pieces of production art that I saw that I fell in love with, it was kind of glittering in the sky, almost like a disco ball – the way the lights shimmer on it were like a disco ball. We ended up taking that and putting it in the [finished film], we were like, 'we need to hang onto that'. So, it's bright, it's colourful, it's also softer and round, which I do think is very different from other sci-fi movies. And everything – even the technology – feels very organic, and kind of squishy and alive, which I think gives it a very unique identity. DS: Yeah, all of it points to Elio just truly feeling like he belongs there, and that he doesn't want to leave when he first arrives. And I also love that Harley challenged our character designer to design non-humanoid-looking aliens, and kind of look at deep-sea, underwater creatures for reference. We went with designs that you couldn't possibly do with humans in a costume, right? MS: Yeah, because live-action, especially some of the classics are a little bit limited by that. Like, the alien in Alien is a guy. Really awesome, though, but we were like, 'we're in an animation, we can do whatever we want, so let's make sure that our aliens are taking advantage of what we can do'. Some parts of the film are quite intense and surprisingly quite scary – especially for a Disney film. Was there much pushback because of that? DS: I mean, we were excited to explore other aspects of the sci-fi genre that maybe you don't usually see in a Disney and Pixar movie. We're both sci-fi horror fans, and I think there's a good balance between scary and fun – like a fun scary. There's a sweet spot that you can hit, and we tried to do that with all the scenes with Elio's clone, really pushing the clone's friendliness, but also upping the weirdness and the horror surrounding him, from Olga's point of view where she's slowly realising, 'am I living with a clone?'... MS: …which is a pretty crazy realisation for her! Especially since she starts off the movie as a sceptic of aliens, she doesn't really believe that they're out there, so to take her to becoming a believer… we almost talked about her B-story as in, 'she's in a totally different kind of movie', she is in a pod person movie, and I thought it was fun that we treated her sections almost like a different genre, a little bit. DS: And you know… we'll fine-tune the execution of it, just to make sure that the music isn't too crazy and the sound effects don't give you too much of a heart attack and we release the tension immediately with a joke or a gag or something. But I don't know – I remember being a kid and loving movies like A Nightmare Before Christmas and Coraline, where there is like a fun scare. I feel like the original Monsters Inc. taps into that a little bit, too. Elio is coming out at an interesting time for Walt Disney Studios, where there area lot of films coming up that are either sequels, live-action remakes and other ideas based on existing IP, so it's great to see an original story coming from the studio, too. Is that something that's important to you both as filmmakers? MS: Yeah! DS: Definitely. MS: And it's important to Pixar, too, I think. Even though we release our own sequels [Inside Out 2 was the biggest film of 2024, with follow-ups to Toy Story, Coco and The Incredibles currently in the works at the studio], we do talk a lot about how important originality is to us, just as a filmmaking culture, we have a lot of originals coming [Pixar's next release, Hoppers, is slated for 2026, followed by Gatto in 2027] and I would say, whether they're sequels or originals, we hold ourselves to the same standard for both. And our main goal is just to make incredible movies, and amazing stories. I love originals – but Toy Story 3 is one of my favourite movies that Pixar has ever made! So, as long as we're holding that standard of storytelling, hopefully we can make any kind of movie great. But it is exciting to have an original coming out. 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The Oct. 7 Hamas attack on Israel was only the beginning. It led to multiple conflicts and tested decades-long alliances. It offered Trump, on his return to power this year, a chance to do what no president before him had dared by attacking Iran so aggressively and directly. Since Israel started strikes on Iran on June 13, Prime Minister Benjamin Netanyahu has spoken of goals beyond neutering Tehran's nuclear threat, even hinting at regime change. But the risk is that an isolated Iran could become more unpredictable with its once-steadfast allies keeping their distance. 'As Iran faces its most critical military test in decades, further tangible assistance from either Moscow or Beijing remains unlikely,' said Bloomberg Economics analysts including Adam Farrar and Dina Esfandiary. 'While both maintain bilateral strategic partnerships with Tehran, neither Russia nor China is a formal military ally, and neither is likely to provide significant military or economic aid due to their own limitations and broader strategic considerations.' Iran isn't getting any support, either, from the BRICS grouping of emerging markets that purports to want a new global order that's not dominated by Western nations. The organization — set up by Brazil, Russia, India and China and which Iran joined in early 2024 — has been silent over Israel and the US's attacks on the Islamic Republic. Iran signed a strategic cooperation treaty with Russia in January and it was a vital source of combat drones early in President Vladimir Putin's invasion of Ukraine. However, Russian officials have made clear the pact includes no mutual-defense obligations and that Moscow has no intention of supplying Iran with weapons, even as they say Tehran hasn't asked for any. 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People Are Sharing The Not-So-Scary Movie Scenes That Absolutely Terrified Them As Kids, And I Guess We All Had The Same Childhood
When we watch movies as kids, sometimes the weirdest things scare scar us for life. On the popular r/AskReddit subreddit, u/GabeyTheArtist asked people to share an absolutely-not-scary movie scene that absolutely terrified you as a child. Some of the answers left me scratching my head (and remembering how messed up some of these movies were): 1."When the lights dimmed and the movie started, and the MGM lion roared, 4-year-old me screamed and crawled for my life over my father's shoulder and into the lap of the lady in the row behind us." —u/TurtleRockDuane 2."When Boo started crying in Monsters Inc. and the lights started flickering." —u/GreatXs 3."That scene in The Little Mermaid when King Triton discovers Ariel's collection of land junk, loses his sh*t and screams at her." —u/PigeonsInSpaaaaace 4."In Sesame Street Presents: Follow That Bird when they capture Big Bird, paint him blue, put him in the cage, and make him sing that sad song. Terrified me as a child. Still hate it." —u/Current-Slice9979 5."The nuclear bomb scene in The Terminator. Nightmares for weeks. I live in DC. Still live in fear that a bomb will vaporize us some day." —u/Asininephilosopher 6."For some strange reason, the heffalumps and woozles in the Winnie the Pooh movie terrified me as a kid. I can't remember anything about that movie or why I was so scared." —u/SadAioli3082 7."Jim Carrey's How the Grinch Stole Christmas, when he goes crazy in the mail room, wrapping up Cindy Lou Who." —u/bardcunninglinguist 8."In Ice Age: The Meltdown, when the iceberg slowly turns around to reveal the two water dinosaurs. I hid until I knew the next scene was playing, like the monster could see me." —u/AddictedtoSmirnoff 9."Aladdin, when he steps into the sand lion's mouth. I always had to cover my ears and my eyes." —u/Slowmotion_ii 10."The Fates in Disney's Hercules passing around (and at one point dropping) their shared eyeball." —u/Friendly_Coconut 11."The Bumble from Rudolph the Red-nosed Reindeer." —u/cjrjedi Related: "That Sentence Sat In My Head For Months": Men Are Revealing The Most Hurtful Things A Woman Can Say To Them, And It's Actually Fascinating 12."The end of the 'I Love To Laugh' scene in Mary Poppins, where the laughing people start to cry to get back to the ground. I thought crying was a horrible thing to show people doing." —u/Chafing_Dish 13."The furnace scene in Home Alone. I was constantly scared of the basement after that, and we didn't even have a furnace down there." —u/_spectre_ 14."The zombie in Hocus Pocus gave me nightmares for literally years." —u/PunkSpaceAutist 15."I have beef with Janice from The Muppets." —u/QuetousPatootous 16."I couldn't watch the Siamese cats song from Lady and the Tramp without losing my sh*t when I was a kid." —u/YawnfaceDM 17."In Pinocchio, when that one kid turned into a donkey." —u/Dangerous-Coach-1999 18."The pink elephants from Dumbo scared the absolute sh*t outta me as a child." —u/EspeonLeafeon77 Related: People Are Sharing How What Happened In Vegas Did NOT Stay In Vegas, And This Should Be A Lesson To Never Go To A Bachelor/Bachelorette Party There 19."In E.T., when E.T. screams, running through the forest." —u/oookaythen45 20."When E.T. gets all sick and white, and they put him in the bag. That frightened me for YEARS." —u/Loud-Lab8802 21."Everything in Mars Attacks! scared the living sh*t out of me as a kid, then I come to find it was a comedy." —u/SlumpDoc 22."I think when they went in the trippy tunnel in Willy Wonka and the Chocolate a kid, it scared the heck out of me." —u/Chris_Scagos 23."The scene of Augustus Gloop going up the pipe in Willy Wonka & the Chocolate Factory." —u/the_ice_rasta 24."The witch's feet curling under the house that fell on her in The Wizard of Oz. It still seems scary." —u/Original-Ad5439 25."The flying monkey scene in The Wizard of Oz." —u/maler27 26."The Wheelers from Return to Oz." —u/8u2n0u7 27."'Be sure and tell 'em Large Marge sent ya!''" —u/Boring-Pudding 28."The skeksis from The Dark Crystal really did a number on me as a kid. They were terrifying." —u/maybetomorrow98 29."The Child Catcher in Chitty Chitty Bang Bang!" —u/Healthy_Syllabub_765 30."When the mutant toys appear in Toy Story." —u/Paintguin 31."The waterfall scene in The Brave Little Toaster." —u/Accomplished_Emu_198 32."THAT Bilbo scene in The Lord of the Rings: The Fellowship of the Ring." —u/aggressively-nice 33."The forest fire when Bambi's mother dies." —u/Johnrevolta 34."The opening scene of The Great Mouse Detective. When the dad gets kidnapped by the bat." —u/cattlol finally, "The CATERPILLAR in Alice in Wonderland. 'Whoooo are you?'" —u/Rogue-313 Also in Internet Finds: Holy Crap, I Can't Stop Laughing At These 28 Painfully Awkward And Embarrassing Conversations Also in Internet Finds: I Need To Call My Doc For A New Inhaler After Cackling So Hard At These 41 Funny Tweets From The Week Also in Internet Finds: Here Are 50 Pictures That Make Me Grin Uncontrollably No Matter How Many Times I've Seen Them, In Case You Need Them
