“We’re not just giving you recipes through the app or the site, but actually providing you with some of the ingredients so that you can get started and actually share the whole experience with us.” Of course we love doing what we do through the app, but it’s always just so amazing to actually be able to get that much closer to in-real-life interactions,” Genevieve Ko, a senior editor for NYT Cooking, told The Hollywood Reporter. “We’re always just thinking of ways we can connect with our community more and more. And for Pandya, the chef behind Unapologetic Foods and Dhamaka, his NYT Cooking kit is positioned as an “Indian pantry kit” that will explore key ingredients for regional Indian cooking. The essentials kit will guide home cooks through the art of donabe cooking. Moore’s kit takes inspiration from her Japanese clay pot (“donabe”) and kitchenware store Toiro Kitchen in West Hollywood. The kit is expected to provide essential and speciality ingredients that can be used for traditional recipes and signature dishes from the James Beard winner’s restaurant. Home cooks who prefer a more visual experience will also receive access to a video tutorial for two recipes from each chef.Ĭompton, of the New Orleans–based restaurant Compère Lapin, has curated a Caribbean Creole cuisine kit inspired by Compton’s upbringing and heritage. The focus will instead be toward speciality ingredients that can be used across four signature recipes from the chefs, which will be written down in a booklet inside the kit, and four other recipes on NYT Cooking that incorporate similar ingredients.

Unlike other meal delivery services, each kit will only include non-perishable items. Its overall handling of mental illness is no great shakes either.'Yellowstone's' Chef Gator Releases Cookbook With Dutton Family Ranch Recipes: Here's Where to Get It Online But not without a preemptive visit to one of Trey’s Civil War reenactments, because apparently things were not sufficiently eccentric.Ī lot more happens here, including a few broad bits between Patricia and a lovelorn therapy patient (including a striptease she does to a story about, of all things, kreplach), as well as her ham-fisted exit from her family to follow her “calling.” But it all serves to congest an already sluggish, choppy and exasperating film, one which asks you to suspend your disbelief- big time - with little emotional reward in return. The writer-director discusses her latest film, a romantic comedy, her father Arthur Miller’s legacy, and her pursuit of a signature style of her own.īefore you can say “Romeo and Juliet,” Julian and Tereza are on the lam to avoid Julian’s capture, with Steven, Katrina and Magdalena facilitating the couple’s escape. Movies Rebecca Miller grew up with drama. (The difference: Katrina’s stage proxy murders her lovers, causing an opening night fan to gushingly dub it “a female ‘Sweeney Todd’”) It looks awful, but maybe that’s the point. Despite his married-man guilt, Steven’s tryst with Katrina jump-starts his creative juices and he refashions his new opera to mirror their surprise encounter. Then there’s Katrina (Tomei), an itinerant tugboat operator (because, of course) and, more pivotally, a hopeless romantic with stalking tendencies, whom Steven unexpectedly meets in a bar and promptly sleeps with. He’s married to his ex-shrink, Patricia (Hathaway), a pencil-skirted neat freak and walking example of the phrase “physician, heal thyself,” who suddenly finds herself curiously, perhaps irrevocably drawn to church - as both a destination and a lifestyle. He’s crashed and burned before, and another failure could tank his allegedly brilliant career. The film, a sort of wan, unfunny cousin to an erstwhile Woody Allen comedy, finds morose and neurotic opera composer Steven Lauddem (a schlumpy, sad-eyed Dinklage) with writer’s block as a commission deadline looms. Or, in the case of this forgettably titled ensemble dud, they’re just gung-ho, cockeyed optimists.

Maybe acclaimed name actors don’t have the pick of roles you’d assume. Remarkably, writer-director Rebecca Miller ( “The Ballad of Jack and Rose,” “Maggie’s Plan”) was able to get her wildly convoluted script in front of the cameras and attract the likes of Peter Dinklage, Anne Hathaway and the great Marisa Tomei (who’s circling national-treasure status, this misstep aside). Given its pedigreed cast and filmmaker, the results are doubly sad. It’s called “She Came to Me,” a mishmash of flimsy, fanciful and far-fetched notions dressed up as a screwball New York rom-com. It’s only October but your Thanksgiving turkey has arrived.

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