Here's where to get gorgeous spring cocktails in Dumbo
And with the changing of the seasons, comes the return of springtime flavors. Keeping in step, Time Out Market New York recently launched it springtime cocktail menu with nine different options to get you in the mood. Cocktails range from $14 and cap out at $16, from refreshing watermelon margs to sangria spritzes.
Ready for a little sun and sip on our patio? Here's a few cocktails that are ready and waiting to be in your hand this season.
Somewhere in Dumbo: Bombay Sapphire Gin, St. Germain, cucumber and lime.
Storm Surge: Bacardi Reserve ocho rum, Bacardi Coconut rum cranberry, passion fruit, orange juice and lime.
Bourbon Grapefruit Smash: Maker's Mark bourbon, pamplemousse liqueur and grapefruit.
The Emerald Sprig: Finvara whiskey, Italicus, lemon and rosemary syrup.
Berry Sangria Spritz: Red and white wine, strawberry syrup, triple sec, framboise and vanilla.
Smokey Spongebob: Dos Hombres mezcal, lime, pineapple, agave spiced nectar and Q ginger beer.
(And while not the most springy of the bunch, you can't forget the Espresso Martini with Meilii vodka, cold brew and coffee liqueur.)
Now if zero-proof is more your speed, the bar also has the Hagave Lemonade ($6) with Hagave spiced nectar, lemon and club soda or the Tropical 'Rum' Punch ($10) with Ritual Rum alternative, orange, cranberry and passion fruit. And if you are more of a beer drinker, get a sip of something local at The Local Corner like our Time Out Lager ($7) Merman IPA from Coney Island Brewery ($9) and Brooklyn Lager from Brooklyn Brewery ($9).
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The Guardian
04-08-2025
- The Guardian
Caleb Azumah Nelson: ‘Virginia Woolf's London is the London I know'
It's always a surprise when ecstasy arrives. Recently, I've found myself waking early, with dawn on the horizon. I think it might be beautiful to catch the sunrise, and in those quiet moments, I am reminded of the bustle of the city, or a lover's hand in mine, or the words that I couldn't quite say, and, looking back towards the sky, find the sun already risen. I rue that I've missed it; I'm surprised it arrived so quickly. But for a moment, the light shines bright; and briefly, the parts of myself I don't always get to are illuminated. In these moments, I'm reminded of our aliveness. Much of my writing practice is concerned with closing the gap between emotion and expression. The sense of loss in this chasm is inevitable; it's impossible to translate the excitement of seeing a loved one across the room, or the bodily jolt that arrives when you pass a friend on the street and realise you have become strangers. But still, I try to write, as Virginia Woolf did, not so much concerned with knowledge, but with feeling. And since language won't always get you there, I employ music, rhythm. Woolf does this masterfully in Mrs Dalloway. She was not just concerned with the notes of an instrument, but moments when a pianist's hands might hover over the keys, or the break before a trumpeter blows; and even before that, what route did the pianist take to work today? What did the trumpeter say to his wife before they slept the night before, and what did she say back? And even further back: what might the musician have witnessed, at 18, which has shaped their life? How did Sally Seton kissing Clarissa Dalloway – a moment Woolf describes as a revelation, a religious experience – shape both their lives? The question that pulses through this novel: how do we come to be? They may not be musical notes but these questions and their answers are all music of some kind. Woolf also writes with a painterly touch. The images she conjures remind me of work by my favourite painter, Lynette Yiadom-Boakye, in which the interior preoccupations are externalised in the strokes on the canvas, both tender and sure; in the ways characters fill the frame with their bodies, their personhoods; in the ways the backgrounds speak as much to the narrative as the foremost subject does. In Woolf's work, there are rarely any direct gazes. Everyone looks away, unable to wrangle with the feeling of being seen, or they glance away when caught. And you understand. It can be scary to be seen. All these emotions and feelings, preoccupations and fears, all out in the open, with nowhere to hide. And yet, if we don't show ourselves, Woolf suggests, it's impossible to truly live. Speaking of backgrounds, allow me a couple of indulgences here: the first, the city. Specifically, the city of London, which I've always known as home, have always known and loved, for all its ways. In Mrs Dalloway, London is not just a backdrop but an essential character. It is a living, breathing organism, to be held, touched, traversed, poked and prodded. To be, in some way, loved. Woolf writes in relation to our love of London, foolish as it may be. And yet, I cannot resist the allure of the city, because it's home to me. The way the streets speak; the frenetic pace of its workers; the all-knowing boom of Big Ben, followed by St Margaret's; 'the carriages, motor cars, omnibuses, vans, sandwich men shuffling and swinging; brass bands'; the way quiet breaks open on entering St James's Park accented only by the slow steps of others, or the flap of ducks swimming in the pond; the way the symphony starts back up as soon as you break out of the park, on to the streets, a distinct hum being heard all round, rising up from the ground. The city hums. But the hum isn't coming from the pavement. Home, whether it is a city, or town, or village, can only really be its people. The London of Mrs Dalloway, the London I know, is filled with parents and children, lovers and enemies, strangers and familiar faces; filled with love and envy, ambition and grief; filled with an immense beauty, a beauty she, I, might witness 'in people's eyes'. And if we look closely, as strangers and lovers pass us, we might see this beauty as further evidence of our aliveness. And, if you'll allow me, I'd like to speak briefly on love. When I mention the ecstatic or this notion of aliveness, I'm speaking to the moments that are at the height and depths of the human experience. Love encompasses all of these categories. Early on in the novel, Woolf broaches Clarissa's relationship with Sally Seton: 'had not that, after all, been love?' It makes me wonder, is love a question, or does it make us question? Does it make us ask 'who is that?' when confronted with our pull towards another? Does it make us reframe this pull as something that cannot be resisted, as if desire is something to be resisted, as if it is weakness and not virtue? There are no answers, only more questions. But I'd like to point to ecstasy, to one person's lips meeting with another: 'the radiance burnt through, the revelation, the religious feeling'. Is this not how it feels to be closest to oneself? To feel the most alive? There are no answers, only more questions. But I think, this is what love does. It expands our lives and the ways we express ourselves by making space for our truest, deepest desires, even if we're only glimpsing these needs for a moment. It questions how we came to be, and what we need to go on; it finds us in the space between who we have been and who we are trying to become. And right there, in the midst of it all, love holds up a mirror to see ourselves, our full selves. Grief, I think, is both love's opposite and companion. The grief of a life you might have lived. The grief of a person you might have been. And grief arrives not as loss but its inarticulacies. Clarissa is able to say what happened to her sister, Sylvia, felled by a tree, but she struggles to say how it made her feel. She's able to understand that if she had married Peter, 'this gaiety would have been mine all day!' but she struggles with the emotional heft of this possibility. Some people never find the language to express their grief, or else it tumbles down the chasm between emotion and expression; but we try. 'It is a thousand pities never to say what one feels', but we try. Sometimes, the moonlight briefly vanishes as night does; the sun doesn't blaze but a new dawn breaks; and with that first light, that early sunshine before any clouds appear, the grief eases. And, doused in sunlight, once more, we are reminded, we are alive. Extracted from a talk commissioned by Charleston festival 2025.
The Guardian
03-08-2025
- The Guardian
Caleb Azumah Nelson: ‘Virginia Woolf's London is the London I know'
It's always a surprise when ecstasy arrives. Recently, I've found myself waking early, with dawn on the horizon. I think it might be beautiful to catch the sunrise, and in those quiet moments, I am reminded of the bustle of the city, or a lover's hand in mine, or the words that I couldn't quite say, and, looking back towards the sky, find the sun already risen. I rue that I've missed it; I'm surprised it arrived so quickly. But for a moment, the light shines bright; and briefly, the parts of myself I don't always get to are illuminated. In these moments, I'm reminded of our aliveness. Much of my writing practice is concerned with closing the gap between emotion and expression. The sense of loss in this chasm is inevitable; it's impossible to translate the excitement of seeing a loved one across the room, or the bodily jolt that arrives when you pass a friend on the street and realise you have become strangers. But still, I try to write, as Virginia Woolf did, not so much concerned with knowledge, but with feeling. And since language won't always get you there, I employ music, rhythm. Woolf does this masterfully in Mrs Dalloway. She was not just concerned with the notes of an instrument, but moments when a pianist's hands might hover over the keys, or the break before a trumpeter blows; and even before that, what route did the pianist take to work today? What did the trumpeter say to his wife before they slept the night before, and what did she say back? And even further back: what might the musician have witnessed, at 18, which has shaped their life? How did Sally Seton kissing Clarissa Dalloway – a moment Woolf describes as a revelation, a religious experience – shape both their lives? The question that pulses through this novel: how do we come to be? They may not be musical notes but these questions and their answers are all music of some kind. Woolf also writes with a painterly touch. The images she conjures remind me of work by my favourite painter, Lynette Yiadom-Boakye, in which the interior preoccupations are externalised in the strokes on the canvas, both tender and sure; in the ways characters fill the frame with their bodies, their personhoods; in the ways the backgrounds speak as much to the narrative as the foremost subject does. In Woolf's work, there are rarely any direct gazes. Everyone looks away, unable to wrangle with the feeling of being seen, or they glance away when caught. And you understand. It can be scary to be seen. All these emotions and feelings, preoccupations and fears, all out in the open, with nowhere to hide. And yet, if we don't show ourselves, Woolf suggests, it's impossible to truly live. Speaking of backgrounds, allow me a couple of indulgences here: the first, the city. Specifically, the city of London, which I've always known as home, have always known and loved, for all its ways. In Mrs Dalloway, London is not just a backdrop but an essential character. It is a living, breathing organism, to be held, touched, traversed, poked and prodded. To be, in some way, loved. Woolf writes in relation to our love of London, foolish as it may be. And yet, I cannot resist the allure of the city, because it's home to me. The way the streets speak; the frenetic pace of its workers; the all-knowing boom of Big Ben, followed by St Margaret's; 'the carriages, motor cars, omnibuses, vans, sandwich men shuffling and swinging; brass bands'; the way quiet breaks open on entering St James's Park accented only by the slow steps of others, or the flap of ducks swimming in the pond; the way the symphony starts back up as soon as you break out of the park, on to the streets, a distinct hum being heard all round, rising up from the ground. The city hums. But the hum isn't coming from the pavement. Home, whether it is a city, or town, or village, can only really be its people. The London of Mrs Dalloway, the London I know, is filled with parents and children, lovers and enemies, strangers and familiar faces; filled with love and envy, ambition and grief; filled with an immense beauty, a beauty she, I, might witness 'in people's eyes'. And if we look closely, as strangers and lovers pass us, we might see this beauty as further evidence of our aliveness. And, if you'll allow me, I'd like to speak briefly on love. When I mention the ecstatic or this notion of aliveness, I'm speaking to the moments that are at the height and depths of the human experience. Love encompasses all of these categories. Early on in the novel, Woolf broaches Clarissa's relationship with Sally Seton: 'had not that, after all, been love?' It makes me wonder, is love a question, or does it make us question? Does it make us ask 'who is that?' when confronted with our pull towards another? Does it make us reframe this pull as something that cannot be resisted, as if desire is something to be resisted, as if it is weakness and not virtue? There are no answers, only more questions. But I'd like to point to ecstasy, to one person's lips meeting with another: 'the radiance burnt through, the revelation, the religious feeling'. Is this not how it feels to be closest to oneself? To feel the most alive? There are no answers, only more questions. But I think, this is what love does. It expands our lives and the ways we express ourselves by making space for our truest, deepest desires, even if we're only glimpsing these needs for a moment. It questions how we came to be, and what we need to go on; it finds us in the space between who we have been and who we are trying to become. And right there, in the midst of it all, love holds up a mirror to see ourselves, our full selves. Grief, I think, is both love's opposite and companion. The grief of a life you might have lived. The grief of a person you might have been. And grief arrives not as loss but its inarticulacies. Clarissa is able to say what happened to her sister, Sylvia, felled by a tree, but she struggles to say how it made her feel. She's able to understand that if she had married Peter, 'this gaiety would have been mine all day!' but she struggles with the emotional heft of this possibility. Some people never find the language to express their grief, or else it tumbles down the chasm between emotion and expression; but we try. 'It is a thousand pities never to say what one feels', but we try. Sometimes, the moonlight briefly vanishes as night does; the sun doesn't blaze but a new dawn breaks; and with that first light, that early sunshine before any clouds appear, the grief eases. And, doused in sunlight, once more, we are reminded, we are alive. Extracted from a talk commissioned by Charleston festival 2025.
Metro
31-07-2025
- Metro
Games Inbox: What will be in today's Nintendo Direct?
The Thursday letters page is confused as to why Monster Hunter Wilds has seen a sales slump, as one reader expects Horizon Zero Dawn 3 to be a PS6 launch title. To join in with the discussions yourself email gamecentral@ Third party predictions I knew the Nintendo Direct would be a disappointment in some way, just because I agree with the theory that there are no more first party games for this year, so they're not going to want you looking forwards to things that aren't out yet, when they've still got new games to sell you. I thought it would be a Metroid Prime 4 Direct though, so a Partner Direct is probably a bit more interesting (hopefully, not that I have anything against Metroid Prime 4 but I'm already sold on it so I don't need to know much else). Following the rule that you should always expect nothing, and not be disappointed, I think they'll focus mostly on stuff that's already been announced, but is Nintendo friendly, like Star Wars Outlaws, Sonic Racing: CrossWorlds, and Borderlands 4. I imagine Final Fantasy 7 Remake and Elden Ring will be the things they spend the most time on. The question is whether we get anything completely new announced. I'm sure there'll be something and Assassin's Creed Shadows and a couple of minor Xbox games are probably likely. I'm not so sure about Red Dead Redemption 2 though, just because I can't imagine it running on Switch 2, and if it does there'll probably be some compromise like bad frame rates. My hope for a complete surprise is something new from one of Nintendo's close allies, like Capcom, Bandai Namco, Sega, or Konami. The lack of new games from any of them is my biggest disappointment with the Switch 2 so far. Ports are fine but I want to see third party Switch 2 exclusives. Lentil Sign up to the GameCentral newsletter for a unique take on the week in gaming, alongside the latest reviews and more. Delivered to your inbox every Saturday morning. Fresh start I'd agree that a Horizon game set in another country would be cool, although they don't really make much of a deal of it being set in the US, just a few landmarks here and there. That's probably not surprising given I believe Guerilla Games are Dutch. I do wonder what they'll do with the next game though, as I assume it won't be changing setting. I also assume it'll be a PlayStation 6 game, possibly a launch title. I know the games have sold a lot, but I still don't feel they're necessarily that popular, if that makes sense? They just have excellent graphics and quite good gameplay (and bad stories). Maybe I'm living in a bubble, but I've never met a Horizon fan and it just doesn't seem like something anyone would ever get that excited about, beyond a general approval. I wouldn't launch my new console with it, but I guess we'll see. Zorro Do they care? This Mario Kart World update raises an important question I've always wondered about Nintendo. Do they know when people are complaining about a certain issue in their games or do they just not care? If it was any other company they've be begging for forgiveness and promising a patch as soon as possible (which they may or may not do). With Nintendo though, not only do they not say or acknowledge anything they almost seem to be trolling us half the time, by changing everything but what people are upset about. I can't see how they wouldn't know about the issues but maybe they don't read comments online on purpose or something? Or maybe they do, then have a good laugh about how they're not going to do anything about it. Jono Email your comments to: gamecentral@ Hero to zero I was already confused at how Monster Hunter Wilds could become the best-selling game of the year and now I'm even more confused as to why its sales have fallen off a cliff. Even if you say Devil May Cry sales have shot up because of the Netflix show (not that I knew there was a Netflix show) how can even Resident Evil 7 be outselling it now? That was eight years ago! To be fair, I've never been interested in it or any other live service game but I wonder if the focus on the story is what's caused these problems. As far as I understand nobody likes it, but Capcom thinks it's the reason why the game was so successful. So maybe they spent all the time on that rather than the 'endgame' content that would've kept people happy. Although I don't know why that would affect sales, rather than just the number of people playing. Is that just the power of word of mouth? Are people really putting that much stock in Steam reviews and whatever? I dunno, I think I'm more happy than ever with just my single-player games. Mogwai Battlefield issues So, I'm OK at Call Of Duty. I win regularly on Warzone and top multiplayer, but the issue I have with Battlefield, and I've tried many games and I'm prepared to give the new one a go as I don't want any publisher going under… but the issue I've always had are two really. The first is that the planes and helicopters are difficult to fly and if you want the casual gamer to play that's a great problem. The second is when killed the distance needed to travel to get back in the game, which can get very frustrating. They need to appeal more to the casual gamer, most don't have time to put hours into learn how to fly or spend time travelling over a large map just to get killed on arrival. TWO MACKS The true cost of power So what do you think to the brand new Evercade Neo Geo Super Pocket handheld with 14 Neo Geo games pre-installed into the tiny system? And the future three Neo Geo Arcade cartridges due to come out later on this year? Celebrating their 35th anniversary on how time flies by, hey? For me personally it's a fantastic idea what Evercade have done, to collaborate with Neo Geo, giving us oldies a piece of nostalgia that was way out of most people's budget back in the early noughties. I mean after the initial release of the console I believe you could only rent it out at certain retailers and countries at first. Then when it actually went on sale to the general public didn't the console itself retail for approximately £600 and the games were on average around £200 each! Also, as far as I'm aware, the power of the Neo Geo was almost as powerful as the Sega Dreamcast that came out almost a decade later, it was that advanced. That's why the games you played then in your home were completely true 100% perfect arcade. HAJ GC: The console was £399 at launch in the UK, but the games were indeed £200 or more. Adjusted for inflation that's £920 for the hardware, with games that were upwards of £460. It was the ultimate 2D machine, but unlike the Dreamcast it was useless for 3D polygonal graphics. We've not played the Evercade handheld but they usually do good stuff, so we're all for it. All GTA, all the time Part of me thinks that GTA 6 can never live up expectations, given how long it's been, and that'll probably be literally true. But I still think it's absolutely going to dominate everything in terms of sales, in terms of the amount of people playing it, and just everyone constantly talking about it, all the time. It's going to be on the news, it's going to be blamed for all sorts of crimes and social problems, and no matter how sick you get of hearing about it, it's going to keep selling and selling. As someone that likes GTA but isn't a mega fan I almost dread it coming out. It's definitely going to mean nothing else big coming out for months, and that at least is not a good thing. Roger Digital only Thanks for the Ninja Gaiden: Ragebound review. I wanted to ask if you played it with the analogue stick or with the D-pad. I ask because I'm torn between buying it on either the Xbox Series X console or for my Switch 2. The problem comes down to Nintendo not providing a proper pad for portable mode play and the D-pad is still lame on the Pro Controller 2. If you swap between left/right quickly as you might do while gaming, you get frequent up/down inputs. And if you hold left or right, rocking your finger up or down slightly also triggers an up or down input very frequently. Just adjusting your grip while holding left or right is enough to also trigger up or down. This is an issue for 2D platformers and games like Tetris, specifically, are not really well-suited for the analogue stick and would normally work better with a D-pad. I'm not buying Street Fighter 6 on the Switch 2 for this reason. I couldn't even get past the tutorial with Luke when trying to do a double quarter circle special move and I don't like arcade sticks. Charlie H. GC: That's a good question. We started off playing it with the analogue stick, but the on-screen commands imply you should be using the D-pad and since the controls are digital-only we went with that. We can't say we've had any trouble with the Pro Controller 2 but the better reason to avoid the Switch version is that it's 30fps only, whereas the Xbox and PlayStation versions are all 60fps. Dotemu has said the Switch 2 version will be improved, but they haven't guaranteed 60fps. Inbox also-ransNow you come to think of it why is Devil May Cry 6 taking so long? The last one was a hit and Capcom are in the money so what went wrong? Bronson GC: It is a mystery, although the director of Devil May Cry 5 leaving last year can't have helped. Loving Donkey Kong Bananza so far and special shout out to the soundtrack. Really great stuff, as usual, from Nintendo. Whistler More Trending Email your comments to: gamecentral@ The small print New Inbox updates appear every weekday morning, with special Hot Topic Inboxes at the weekend. Readers' letters are used on merit and may be edited for length and content. You can also submit your own 500 to 600-word Reader's Feature at any time via email or our Submit Stuff page, which if used will be shown in the next available weekend slot. You can also leave your comments below and don't forget to follow us on Twitter. MORE: Games Inbox: When is the next State of Play for PS5? MORE: Games Inbox: Is there a secret Nintendo Switch 2 Christmas game? MORE: Games Inbox: Are gamers too entitled about video games?
