Coachella's Culinary Stars Take Center Stage in 2025
With more than 75 restaurants and bars featured during both April weekends of the festival, there's bound to be something for everyone to enjoy. Festivalgoers can find a mix between fine-dining experiences and quick bites this year with some of the city's favorite restaurants, sit-down dinners, sweet treats, and can't-miss beverages.
12 Peaks VIP
Look out for exciting foods like "Le Burger" as well as chicken nuggets and caviar from Camphor; "Spicy Spring" from Prince St. Pizza; poke bowls from Sweetfin; Tijuana-style tacos by Tacos 1986; pizzas from Ronan; American-Japanese fusion from Sumo Dog; Szechuan noodles from Bang Bang Noodles; My Lai's Banh Mis and espresso favorites from Menotti's.
Indigo Central Market
The center of Coachella's food scene is where 15 restaurants will welcome the crowd to feast under one shaded tent. Highlights from the market scene include Korean BBQ nachos from Kogi, chicken sandwiches from Dave's Hot Chicken, plant-based pizza from Forever Pie, sandwiches from All'Antico Vinaio, spicy Sicilian Prince St. Pizza squares, and fried chicken and roti curry from Farmhouse Thai Kitchen. The tent will also feature a coffee bar by Everbloom Coffee, a juice bar from #Juicebae, and desserts from Happy Ice and McConnell's Fine Ice Cream.
VIP Rose Garden
Feast on Birria mac burritos from Birrieria Michi, Korean staples from Inssa, smashburgers from Love Hour, wings from Woodfire Wings and organic vino from Clink Wine Bar.
Outstanding In The Field's culinary experience by Jim Denevan will take place in the VIP Rose Garden every night at sunset. The "restaurant without walls" features a four-course, family-style dinner prepared by the culinary world's finest from across the country. Tickets can be purchased here.
GA
Located at the center of the festival, near the GA crowd, Pizza Remix by Postmates teamed up with Prince St. Pizza to create special slices with Los Angeles restaurants The Boiling Crab and Bridgetown Roti. The Boiling Crab's slice features their signature whole sha-bang sauce, topped with mozzarella, shrimp and smoked sausage; and Bridgetown Roti's honey jerk chicken slice is made with honey jerk chicken, mango masala, green seasoning and smoked mozzarella.Not going to Coachella? Don't worry! These exclusive slices will be available from April 11th through the 20th via the Postmates app from Prince St. Pizza locations in Los Angeles.
Terrace North
The fully plant-based menu from Monty's Good Burger, including Monty's Treats, Good Boy Matcha by Monty's and Monty's Dog House will be feeding the plant-based festival guests. Chef Eric Greenspan is offering three different gourmet dishes: grilled cheese from New School Quality Grilled Cheese, pork sliders from Slider Kings and carnitas loaded fries at Chipapas.
Terrace South
The Boiling Crab's Lousiana-style Cajun seafood boils, Wagyu smash burgers from Burger She Wrote, steamed dumplings from Lovebite Dumplings, and TKB's giant sandwiches.
Craft Beer Barn, Coachella Courtyard and other spots around the venue
Guests can experience Fat Sal's sandwiches, Sunny Blue's omusubi, Mano Po's Filipino pop-up, Compton's The Goat Mafia's L.A.-style birria.
The overnight camping crowd will have their own special lineup featuring Dave's Hot Chicken's new 24-foot truck, street food from Word of Mouth, festival slices from Spicy Pie's, Yeastie Boys bagels, and Salvadorian-inspired favorites from Five03 Pupusas.
Beverages
The festival's beverage scene is complete with specialty alcoholic and non-alcoholic cocktails. Hidden throughout the festival, be among the first to test New York City's PDT (Please Don't Tell) Mixteca, featuring craft cocktails that will soon live on the East Coast in the West Village. In The Craft Beer Barn, Houston Hospitality's Mark and Jonnie Houston will be offering unique cocktails at The Cabin. For spirit-free guests, The New Bar brings a variety of non-alcoholic drinks to the desert.
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
New York Post
an hour ago
- New York Post
AMC Theatres announce shocking change that people aren't thrilled about: ‘That's already excessive'
Moviegoers at AMC Theatres are in for a rude awakening starting next month. A few commercials and coming attractions before a movie begins are expected — however, soon enough, AMC Theatres will be delaying the start times of movies even more. On July 1, AMC Theatres — the largest theatre chain in the U.S. and Europe — will be adding one additional commercial on top of the many that they already play after upcoming movie trailers and before the start of a movie. Advertisement Buckle up moviegoers — you're in for a long ride before your movie even begins, starting next month. Christopher Sadowski And people are not happy about this news. The news comes as part of a new deal with American cinema advertising company National CineMedia Inc., according to Bloomberg. Advertisement It's an opportunity for AMC to make some dough — as the movie theater chain will get a cut of the ad sales, as reported on by the outlet. 'While AMC was initially reluctant to bring this to our theaters, our competitors have fully participated for more than five years without any direct impact to their attendance,' AMC said in a statement, according to The Hollywood Reporter. 'This is a strong indication that this NCM pre-show initiative does not negatively influence moviegoing habits.' Advertisement The deal is a win-win for both AMC and NCM, as it serves as an opportunity for each company to earn back some of the revenue they lost during the pandemic, when all theatres were shut down. 'For the past five years, AMC has sought out crucial revenue that is not reliant on the increase of base ticket prices,' said an AMC rep in a statement to Deadline. 'We've done this through more and better moviegoing enhancements like our significant expansion of PLFs, a greater selection of food and beverage offerings, and the introduction of movie-going merchandise like popcorn buckets and other collectible concession vessels,' the statement explained. Although this news isn't the end of the world — and frankly, could be worse — people on X (formerly Twitter) are acting like it is. Advertisement 'I show up to every movie 30 minutes after the 'start time', and it is always exactly as the movie is starting. That's already excessive,' said one person. 'How could they possibly run more?' a grumpy X user wrote. 'Gee, great! So, more people will arrive 30 minutes after 'start' time and climb over people in the dark, at the beginning of a film, to avoid the trailers and additional ads! This is why I treasure my aisle seat. I will be arriving much later now,' quipped someone else. 'Glad my area only has Regals,' commented another unhappy person.
Yahoo
an hour ago
- Yahoo
You Probably Hate This Masterpiece Sci-Fi Show. Here's Why You Need to Rewatch It in 2025
You may be thinking, "Really, Macy? You're going to the mat over a show that came out over 20 years ago?" Well, yes. Because it simply isn't given the respect it deserves. Like many Americans, my family and I loved our nights huddled around the TV to watch our favorite TV shows live. For us, that meant American Idol, Dexter and, of course, ABC's network hit Lost. There's a good chance you watched Lost in the early 2000s, too. And there's an even better chance you think it got bad. Or you have some sort of perspective that it started strong but went off the rails after the first three seasons. Somewhere along the way -- maybe when the flash-sideways began, or when a smoke monster turned into a man, or when you realized there wasn't going to be a clear-cut answer to every mystery -- you bailed. Maybe you saw the finale and thought it ruined the whole show. (More on that later.) I watched Lost when I was a kid, but hadn't revisited it for close to a decade. Until it came to streaming services, first Hulu and now Netflix and Disney Plus. One day, I decided to replay the pilot episode and, well, it transformed me into the person writing this 1,500-word defense. I binged the show and then immediately turned around and binged it again. I'm truly mad at myself for wasting so much time thinking this show was a disappointment. In truth, it's a glorious, ambitious near-masterpiece. It's my favorite show. That's why I'm writing this. I'm here to ask you to do something radical: Rewatch Lost in 2025. Yes, all of it. And this time, go in with fresh eyes -- see it not as a weekly network drama, but as a serialized, character-driven odyssey that, along with The Sopranos and Mad Men, paved the way for the prestige genre TV we obsess over now. Because the truth is, Lost wasn't a failure. It was just ahead of its time. Here's why. Looking for more streaming recommendations? You should also watch my favorite movie, a historical drama packed with modern themes, for free now. The last thing I want to do is spoil the ending of a show I'm trying to get you to rewatch. But I feel like I need to address this early since one of the main reasons audiences ultimately turned on the show was a misconception about the ending. I'll tell you right now, spoilers be damned. They. Were. Not. All. Dead. The. Whole. Time. The idea that the characters were really all dead the whole series and that the island was just a purgatory-like state is completely untrue. It's been debunked by the creators of the show, the actors who starred in the show and the dialogue in the series finale itself. A twist ending like that -- revealing they had all died in the plane crash right at the start -- would be a horrible one. It would retroactively reduce the entire plot of the show to meaningless, empty nothingness. So, thankfully, that's not how it actually ended. Now, you can just enjoy the show knowing that it all matters. When Lost premiered in 2004, there was nothing like it on network television. A lush, cinematic sci-fi mystery shot on 35mm film, with a massive ensemble cast of mostly unknown actors and an evolving mythology? On ABC, of all places? In the era of CSI, Desperate Housewives, and the dozens of other cop shows and formulaic TV, Lost was a risk. Lost is a sci-fi show (I think a lot of people forget that) with horror and supernatural elements. It's serialized, meaning you must see each episode to understand the next one, unlike so many shows that were airing on network TV at the time. The show follows a group of drastically different people who have just survived a plane crash on a remote, tropical island that seems to harbor deep, dark mysteries. But each survivor has secrets of their own. And they must live together in order to survive. (I can vividly remember hearing protagonist Jack Shepard say, "If we don't learn to live together… we're gonna die alone.") These characters come together with their differences, their pasts (beautifully depicted in flashback scenes), their traumas, their hopes and their desires, to collectively navigate this horrible situation. What unfolds is six seasons of intense, heart-wrenching plot points that subvert expectations and are rich with themes of faith, spirituality, dualism, philosophy and the mystical. It's pretty normal for TV shows now to be cinematic. Shows like The Last of Us, Succession, Stranger Things and Severance all make use of big budgets, high-quality production, engrossing performances and teams of insanely talented writers. But Lost was doing that in 2004 on ABC, which means the showrunners were dealing with the many obstacles and restrictions of network television. For instance, the show's creators -- J.J. Abrams, Jeffrey Lieber and Damon Lindelof -- wanted Lost to only be three seasons, but ABC said no, and pushed them to do 10 seasons when they saw what a hit the show had become. They eventually negotiated down to the six seasons we have today. But that's twice the amount of runtime the original creators intended. Despite this, the writers crafted compelling story lines and introduced some of the most intriguing characters (Ben, Juliet, Jacob, Penny, Miles) into the later seasons. It's easy to forget that Lost was doing time jumps, shifting perspectives and emotional bottle episodes long before The Leftovers, Dark or Severance existed. It experimented with structure constantly: a flashback here, a flash-forward there, a time loop in season 5. Entire episodes would focus on side characters you hadn't seen in weeks. It was complicated, sure, but thrillingly so. The show trusted its audience to keep up, even when it was confusing. And yes, that led to frustration at the time, but trust me, it works much better now that Lost is on streaming services. It's a show that really should be binged, so that you can truly appreciate the nuance and hidden details of the writing. The things that made Lost so good at the time are why it hasn't been fully appreciated. It was simply ahead of its time. Lost indeed was a risk, but one that paid off in six seasons of wild, genre-bending storytelling and a gut-punch, emotional ending that will land as long as you give it another chance with an open mind. Read also: The 21 Best Sci-Fi TV Shows to Stream on Netflix Part of what makes Lost such a rewarding rewatch in 2025 is that it doesn't feel dated. The series still looks and sounds incredible. Because it was filmed on 35mm, which can be upscaled and remastered. Plus, shot on-location in Hawaii, the series still looks gorgeous. The performances of the 14 regularly recurring leads of the cast are absolutely brilliant, too. Even though this was a cast of mostly unknown actors at the time, they all, guest actors included, reached a caliber of performance that is still so rare to witness in a TV series. And the music is absolutely remarkable. Michael Giacchino (The Incredibles, Up, Coco, Inside Out) created what I think is the best TV score of all time for Lost. I mean, he used debris from the crashed plane from the pilot episode to create the unique, bizarre sounds you hear each episode. The score is a perfect fit for a unique storyline. More than anything else, Lost is a show that will make you feel. Is every plotline perfect? No. Do the final seasons get a bit complex? Absolutely. But on balance, Lost is one of the most ambitious, strange, beautiful things ever put on television, and it is emotionally satisfying from start to finish. Lost opened the door for serialized sci-fi and genre storytelling on TV, especially character-first narratives with weird, metaphysical themes. What I'm saying is that without Lost, it's hard to imagine Severance, Stranger Things or other TV sci-fi faves. So if you haven't watched it since 2010 -- or if you've never watched it at all -- now's the time. The entire series is available to stream on Hulu, Netflix, Disney Plus and Prime Video for rent. Skip the Reddit threads. Forget the hot takes. Just hit play. And maybe, just maybe, you'll find that Lost didn't lose its way. We just didn't know how to watch it yet. For more, you can explore the 13 best sci-fi shows on Apple TV Plus and the 18 best sci-fi shows on Prime Video.
San Francisco Chronicle
2 hours ago
- San Francisco Chronicle
Kunié Sugiura's groundbreaking art gets long-overdue spotlight at SFMOMA
During a recent morning stroll through her new solo exhibition at the San Francisco Museum of Modern Art, Japanese artist Kunié Sugiura paused in front of a wall-size photo of herself that was taken 53 years ago in a New York gallery. 'I don't even know who she is,' said the 82-year-old photographer with a smile, looking bemused at the image of her younger self. In the 1972 photo, Sugiura stands in front of one of her early photocanvases, one similar to those on view in the SFMOMA survey exhibition 'Kunié Sugiura: Photopainting.' It's a semi-abstract photograph of a detail from nature, maybe beach sand, ash or a Central Park stone, which she blew up and then printed by hand on photosensitized canvas, applying graphite to accentuate contrast. The result, like much of Sugiura's work from the 1970s on, looks surprisingly contemporary. She started creating hybrid work that played with the boundaries between photography and painting years before it was popular, and yet Sugiura has only recently received the attention from museums and collectors that she deserves. Just last year, the Metropolitan Museum of Art in New York bought two of her photopaintings, and the SFMOMA acquired two of the standout images in its exhibition — her 1969 photocanvas 'Yellow Mum,' the cover image of the exhibition's accompanying catalog, published by MACK; and 'Deadend Street' (1978), a sculptural photopainting that juxtaposes a gritty street in Queens, N.Y., with monochromatic black painted panels, divided in the center by empty space. 'Kunié started making color photographs as art at a time when pretty much nobody else was,' explained Erin O'Toole, who curated the SFMOMA show and serves as head of photography at the museum. 'I think that's likely why her work took some time to get attention, because people didn't quite know what to make of it.' O'Toole went on to explain that there was a perceived divide in the art world well into the 1970s between painting, deemed expressive, and photography, regarded as more formal and purely representational — 'Kunié insisted on blurring that boundary.' Unlike the young black-haired artist who exudes tough-girl cool in the 1972 photo, with her arms crossed and her thumbs looped in her bell-bottoms, Sugiura today is calm and cheerful. She said it was gratifying to see more than 60 works from her six decades of artistic experimentationon view together. Touring the newly installed show prompted her to recall positive memories and fruitful, collaborative friendships – like with 94-year-old artist Ushio Shinohara, who's depicted splattering paint with boxing gloves in one of her bold photograms from 1999. 'People might not know this about me, but my life has been the best of the best,' Sugiura said. 'I'm happy I've found a way of life and of working that's stayed interesting for so long.' The SFMOMA exhibition dedicates a room to each chronologically distinct phase in Sugiura's career, spanning from the 1960s to 2021, featuring photocanvases, photopaintings, photograms and x-rays. 'I couldn't believe that her work had never been the subject of a major exhibition in the U.S.,' said O'Toole, who started planning the SFMOMA show after visiting Sugiura in her New York studio three years ago. 'I could already envision how dynamic an exhibition of the full arc of her career could be.' Sugiura was born in Nagoya, Japan, at the height of World War II. Before she turned 2, her father was killed in a U.S. military bombing of the munitions factory where he worked. She showed artistic ability as well as scientific promise from a young age, and enrolled in a women's university in Tokyo to study physics before making the radical decision to apply to art school in the United States. In 1967, just a few days after graduating from the School of the Art Institute of Chicago, where she had been influenced by conceptual photographer Ken Josephson, Sugiura moved to New York and began her ongoing exploration into new ways to approach photography. Her early experimentations involved coating large sheets of canvas with liquid photo emulsion, also called 'liquid light,' which created unique and surprising results. Working at home and at a large scale, she had to use her bathroom as a darkroom and would wash the massive canvases in her tub, wearing a swimsuit to avoid ruining her clothes. She recalled feeling 'very happy' with the results, and it allowed her to marry her science background with creative darkroom improvisation. 'I think like an Impressionist painter,' said Sugiura, 'but I was glad that I didn't have to just do painting because I was very frustrated by it. I also didn't want to just create simple black and whites (with a camera). I saw possibilities in making large images on canvas, a material people assume is for painting.' Her best photopaintings, like 'Deadend Street' (1978), marry Sugiura's eye for natural or architectural detail with an urban sophistication. Unlike Andy Warhol and Robert Rauschenberg, both of whom she cites as influences, she used her own photos, rather than screenprinting mass-media images. Stuck at home during the COVID pandemic, Sugiura revisited her anatomical x-ray series, which she had begun 30 years earlier. During a 1990 hospitalization for a collapsed lung, she became fascinated with the mysterious, anonymous beauty of x-rays which were then printed on thick film stock. 'When I was in the hospital, every four hours they were taking x-rays,' she recalled. 'I said, 'I want to see what you are looking at. I think I could do something very interesting with these images.'' The doctors agreed to give her other patients' discarded films, as long as she blacked out their names (which would surely be a HIPAA violation today). She amassed a sizable collection and created a series of haunting, surprisingly beautiful images. 'X-rays are innocent of gender. Man or woman, we all have the same structure. I might be weird, but I find that beautiful,' she said, standing in front of her large 2021 work 'Vertebra,' a massive grid of spinal column x-rays connected by colorful, interchangeable painted panels. Sugiura said she still makes art almost daily in the same fourth-floor Chinatown loft she's lived and worked in since 1974. 'I used to try to separate living and working, but the whole place is now a place for work,' she said. 'I work every day as much as I can, and I love it.'
