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A ‘Jewish luncheonette’ returns to the Flatiron District, with a killer egg cream
(New York Jewish Week) — It’s just after 1 p.m. on an unseasonably warm autumn day, and the line at the recently opened Flatiron restaurant S&P, which describes itself as “a new place for a very old lunch counter,” is out the door.
Fortunately for my rumbling stomach, the crowd is mostly due to the tight quarters within: Many customers are simply waiting for takeout orders of pastrami sandwiches and matzah ball soup. The barstool seating at the vintage marble counter means space near the entrance is at a premium, and my dining companion (none other than Shannon Sarna, the editor of The Nosher) and I are quickly seated at a two-top in the cramped yet convivial rear, which is dominated by a long green banquette.
S&P officially opened Sept. 28, the latest venture from Eric Finkelstein and Matt Ross, the founders of hip local sandwich mini-chain Court Street Grocers. It’s the newest iteration of an old-school luncheonette at 174 Fifth Ave., which first opened in 1928 and had been known for decades as Eisenberg’s Sandwich Shop.
I myself had once been a regular Eisenberg’s customer: At the tail-end of the ’90s, my first “real” job in New York was at the Flatiron Building across the street. To me — and, clearly, to many other New Yorkers — Eisenberg’s was the kind of place that seemed to be entwined with the very fabric of the city, like pigeons, hot dog carts and subway cars. I can’t say the food was particularly good at Eisenberg’s, but washing down a tuna melt with an egg cream in the vintage environs always felt special.
After a series of owners, Eisenberg’s shuttered for good during the pandemic in March 2021. Finkelstein and Ross — who first met as undergraduates at the Rhode Island School of Design, where they graduated in 2003 — were tapped to take over the space this spring, as the building’s landlord was committed to having a tenant who would preserve the vibe (if not the name, due to legal reasons) of Eisenberg’s.
The partners have spiffed up the interior and the menu a tad — but not enough so that the eatery feels unrecognizable. In fact S&P very much feels the same as Eisenberg’s always has, even if the floor is new and dishes such as bananas and sour cream are recent additions. As Finkelstein, 40, who grew up in a Jewish family in Hollis Hills, Queens, told me in a phone interview: “This is the kind of food I grew up around and with.”
In an effort to preserve the space’s long history, the new owners settled on a name that honors the restaurant’s original owners, Charles Schwadron and Rubin Pulver. “You can see that these two guys, Schwadron and Pulver, had built this place out right when the building was erected, and they were going to run a restaurant together,” Finkelstein said, explaining research that included scouring old lawsuits and tax documents. “In a 1940 tax photo, which is how we found out it had been called S&P, you can see five other sandwich shops on the same block.”
Following a hectic weekday lunch rush, I spoke with Finkelstein about the luncheonette’s legacy, its Jewish influences and how to make a perfect egg cream.
This interview has been lightly edited for length and clarity.
New York Jewish Week: Eisenberg’s felt like the kind of place that’s been around forever — and the new S&P still does. The nostalgia is there, but at the same time, the restaurant really feels like a living, breathing part of the city. Is that what you were aiming for?
Eric Finkelstein: This kind of place has always been really important to my business partner, Matt [Ross], and I — and to, obviously, a lot of people in New York. It’s the kind of place that people associate with New York. When you think about the city, you assume that these places are everywhere — and they should be. There are a number of reasons why they aren’t; some of them are organic, and some of them aren’t.
We found ourselves with an opportunity to help the city retain this one. And I think, fundamentally, what we really wanted to do was just make sure that if we were going to do this, that we did it in a way that was honest — where we tried to make the best food that we can, and try to provide the most appropriate level of service that we can, and that it’s not, to use a phrase Matt uses, a “theme-park version.” Because we definitely feel that this kind of thing is timeless, and it’s not, you know, it’s not an exercise in nostalgia to try to keep this place open.
Were you familiar with Eisenberg’s before you opened S&P?
I wasn’t aware of Eisenberg’s as a kid. My father definitely knew of it; my great-grandparents worked in the neighborhood, where there were a ton of places like Eisenberg’s. When we opened Court Street Grocers [in 2010], Matt and I used a number of things as a model for what we wanted to do [and this was one of them]. Like everybody else, I was kind of bummed to see the place had declined so precipitously in those last couple of years, then even more devastated to see it close.
I should say, obviously, that we are not Eisenberg’s. We don’t have the right to use that name. S&P is a different business. But one of the things that I loved so much about Eisenberg’s is that it was a lunch counter, that, you know, there were hundreds, or maybe thousands of lunch counters exactly like it in New York, with the same exact specs for the marble countertop and the mirrored back bar.
There are a lot of traditional Jewish foods on the menu, like latkes and matzah brei, but you also have things like cheeseburgers and bacon. Would you consider S&P a Jewish deli, or do you see it as Jewish in any way?
I would consider it a Jewish luncheonette. I think a deli has counter service, like a deli counter. Maybe a deli food case, and you could order food to go, or you could sit down at a table and maybe get a table service. But I think the lunch counter aspect of it makes it not a deli but a luncheonette.
It’s obviously not kosher. But, you know, I think there’s a tradition of this kind of lunch counter in New York that was Jewish inflected. And even a lot of diners have a lot of traditional Jewish food on their menus, for whatever reason, just because it’s New York.
I read that S&P’s desserts are made by your relatives. I love how this is a family business — a lot of the classic Jewish restaurants in the city, like Katz’s Delicatessen and Russ & Daughters, are generations-old family businesses. Do you feel like you’re recreating some of that, with something new?
My father makes the rugelach and both of Matt’s parents make the carrot cake.
The Court Street Grocers business, we’ve always thought of it as a kind of mom-and-pop-style operation. Decisions are made based on what’s actually happening with interactions between the customers and the staff, versus just kind of coming up with what people call “a concept” and executing it. These places should be living and breathing things that change.
Bonus question: I ordered a tuna melt and an egg cream at S&P, just like I used to at Eisenberg’s. I like egg creams OK but I don’t generally love them. But the one I had at S&P was by far the best egg cream I’ve ever had. What’s your secret?
First of all, we have good seltzer — we made sure that we had a good seltzer system put in, with the right amount of carbon dioxide, pressure, and a way that we can get it cold enough, which is a big deal. We’re using good milk, and we’re using Fox’s U-Bet [chocolate] syrup. So it’s sort of the same ingredients that everybody uses. I don’t know if ours is better, but the order of operations is really important. Before we opened we tried, over and over again, different ways of making it, like you put the chocolate syrup and then the milk. [Or] you put the milk and seltzer and then syrup. We’ve gotten to a place where we’re really satisfied. The amount of syrup is really important — I think it’s just proportions and order of operations, and then doing your best to try to not beat out all the carbonation.
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2026 Tribeca Film Festival to Screen World Premiere of Israeli Films, Including Noga Erez Documentary
A still from “What Is To Come.” Photo: Tribeca Film Festival
Organizers of the 2026 Tribeca Film Festival announced on Thursday the official lineup for this year’s event in June and it includes the world premiere of three Israeli co-productions.
“What Is to Come” will be screened as part of the festival’s International Narrative Competition. The drama from Israel and the United Kingdom is about a woman named Yehudit who unexpectedly loses her husband and is forced to start over on her own. “In the process, she finds that abrupt and painful detours can lead to bright roads,” according to a synopsis of the film. The feature is directed and written by Ruthy Pribar, and stars Ronit Yudkevitch, Yaakov Zada Danielm and Tovit Adis Semay. “What Is to Come” will make its world premiere on June 8.
Pribar’s debut feature film “Asia” screened at the Tribeca Film Festival in 2020 and won three awards, including the Nora Ephron Prize for Pribar, a best actress award for Shira Haas, and best cinematography for Daniella Nowitz. The film also won nine Ophir Awards in Israel.
“Moishe Badhan (or The Tale of a Wedding Entertainer),” will also make its world premiere at the Tribeca Film Festival this year, in the Viewpoints section. Directed by Gidi Dar and written by Shuli Rand, the co-production from Israel and the US is a comedy-drama about a disgraced Hasidic wedding-comedian who is trying to gather enough funds to marry off his daughter. The cast includes Shuli Rand, Tal Friedman, and American Jewish comedian Elon Gold, who is also an executive producer on the film. The world premiere will take place on June 4.
The 2026 Tribeca Film Festival will also feature the world premiere of the documentary “Noga,” about Israeli alternative pop singer Noga Erez. The movie, which was directed and co-produced by Jono and Benji Bergmann, is a c0-production from Austria, Germany, Israel, and the US. It examines how Erez “must redefine her role as an artist on a global stage” after the Israel-Hamas war breaks out in 2023. The film’s world premiere on June 7 will be followed by an acoustic performance by Erez and her longtime partner in music and life Ori Rousso.
Erez is performing twice at the Coachella Valley Music and Arts Festival this month. She has never performed at the festival before and has made history as the first Israeli singer to take to the stage at the annual event in Indio, California.
The 2026 Tribeca Film Festival will run from June 3-14. The event will feature 118 feature films including 103 world premieres, which is the most in the history of the festival, and 86 short films. The festival this year will represent 143 filmmakers, including 55 first-time directors, spanning 44 countries.
“Tribeca began 25 years ago as an act of healing, a mission to reunite our community through the power of storytelling. Today, that purpose feels more urgent than ever,” said Jane Rosenthal, co-chair and co-founder of the Tribeca Festival. “This year’s incredible feature and short film lineup includes stories from filmmakers who make us think, feel, laugh, cry, and ask why. Tribeca remains dedicated to the artists’ voices and diverse perspectives that challenge us to see one another more clearly.”
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Over 1,000 Entertainment Industry Figures Back Israel’s Inclusion in 2026 Eurovision Song Contest
A photographer takes a picture of a TV screen in Wiener Stadthalle, the venue of next year’s Eurovision in Vienna, Austria, Nov. 18, 2025. Photo: REUTERS/Leonhard Foeger
More than 1,000 members of the entertainment industry have signed an open letter expressing support for Israel’s participation in the 2026 Eurovision Song Contest (ESC) held in May, in response to demands to have the country excluded from the competition because of its military actions in the Gaza Strip during the Israel-Hamas war.
Creative Community for Peace, a non-profit organization comprised of prominent members of the entertainment industry, penned the initial open letter in 2024 in response to efforts by anti-Israel activists to have the European Broadcasting Union, which organizes the ESC, ban Israel from the event and to pressure countries and artists to withdraw their participation from the competition. The open letter voiced support for Israel’s inclusion in Eurovision as well as solidarity with the contest’s participants, while denouncing calls for a boycott of the event.
Hundreds more entertainment industry leaders have since added their names to the open letter, including actresses Amy Schumer and Mila Kunis; singer Matisyahu; actors Jeremy Piven and Jerry O’Connell; television writer, producer, and directors Amy Sherman-Palladino and Matthew Weiner; “Wonder Woman” director Patty Jenkins; and “Nobody Wants This” co-creator Erin Foster.
“We have been shocked and disappointed to see some members of the entertainment community calling for Israel to be banished from the contest for responding to the greatest massacre of Jews since the Holocaust,” the letter stated. “We believe that unifying events such as singing competitions are crucial to help bridge our cultural divides and unite people of all backgrounds through their shared love of music.”
“Music should bring us together,” said O’Connell. “No artist should be silenced for where they are from. These boycott efforts destroy the very connections the arts are meant to build.”
Those who signed the initial open letter back in 2024 include Helen Mirren, Boy George, Liev Schrieber, Sharon Osbourne, Gene Simmons, Debra Messing, David Draiman, Mayim Bialik, Julianna Margulies, and Ginnifer Goodwin.
“Artists and culture are being dragged into the angry, misinformed politics of the moment,” said Osbourne in a released statement. “Attempts to exclude Israelis from the international stage twist art into a tool of division and erode the shared humanity that the arts are meant to preserve. I’ve watched this play out for over three years, and it just breaks my heart.”
The 2026 Eurovision semi-finals will take place on May 12 and 14, and the final live show will be on May 16. The competition is being held in Vienna, Austria.
After the European Broadcasting Union confirmed late last year that it will allow Israel to participate in the 2026 ESC, Spain, the Netherlands, Ireland, Slovenia, and Iceland announced they will not participate in this year’s event.
Spain’s national broadcaster RTVE said it will not broadcast or participate in the event, which marks the first time the country has completely boycotted the ESC since it began participating in the competition in 1961. Spain’s Culture Minister Ernest Urtasun called the move “brave.”
Meanwhile, the EBU confirmed this week that for the first time ever the live shows of the 2026 Eurovision Song Contest will be available to watch for free in the United States. It will air on YouTube but also be available for viewing in the US on the Peacock streaming service.
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Yale University Admits Role in Crumbling Public Trust in Higher Education
Graduates enter Old Campus at Yale University for Commencement Day exercises, in New Haven, Connecticut, US May 19, 2025. Photo: REUTERS/Bryan Woolston
Yale University in New Haven, Connecticut blamed itself and other elite colleges for having played a role in crumbling public trust in higher education in a new committee report published on Wednesday.
Racial preferences in admissions, prohibitive sticker prices, declining academic standards, and advocacy of divisive progressive causes which polarized the American public to the point that “national divorce” became a byword on social media in recent years all contribute to a sense that elite higher education considers itself a class apart and above regular people, the report said.
Citing polling showing that just over a third of Americans, 36 percent, have “confidence” in higher education as opposed to 57 percent who did in 2016, it noted that “trust in higher education has declined faster than in other institutions and sectors.”
The statistics reveal uncertainty regarding the purpose of higher education and its relevance to a democracy that is contemptuous of gatekeepers and hollow indicators of status.
Yale University’s own opaque system of “preferences” in undergraduate admissions — which it said privileges the wealthy, athletes, and some minorities — is one source of discontent that needs to be addressed, the report said.
Yale University infamously adopted racial preferences under the leadership of president Kingman Brewster in the 1960s, despite growing evidence that the practice created an environment of academic maladjustment and racial division. This led to the creation of segregated programming and academic programs for African Americans, as well as a summer remedial program for minority students — PROP (Pre-Orientation Program) — that was eventually rebranded in the late 1990s when its apparent subtext proved unpalatable to a new generation of students.
“We recommend that Yale reduce preferences for special classes of applicants. We also believe that the admissions system can be made more effective and less onerous for applicants by establishing and making a public minimum standard of academic achievement necessary for consideration,” the report continued. “Under the current system, Yale informs potential students that everything matters, leaving applicants scrambling to second-guess what the university wants.”
The report authors, drawn from across Yale’s faculty, went on to recommend adopting a “minimum SAT score” or “Yale specific entrance exam” to “ensure that no student is admitted without the requisite academic preparation ability.”
Elite undergraduate admissions is a matter of growing importance to the Jewish community, as it has seen its representation in some Ivy League institutions plunge. According to a report issued by the Harvard Jewish Alumni Alliance in March, Jewish undergraduate enrollment at Harvard has plummeted to lows not seen since the eve of World War II and the Holocaust, falling to just 7 percent.
The same report also found that Jews are the only minority group at Yale University whose admittance rates have declined since the university expanded the size of its undergraduate class in 2018. The revelation has revived memories of elite education’s 20th century practice of “restriction,” by which admissions officers relied on a “holistic assessment” of applicants to deny admission to Jews.
Yale’s new report also touched on the charged issue of viewpoint diversity, a point of vulnerability for most universities.
“The campus has not been immune from pressures toward conformity, intimidation, and social shaming that have affected the rest of higher education and, indeed, the rest of American society,” it said, referencing a 2015 viral incident in which a Yale undergraduate shrieked at professor Nicholas Christakis because he had implored progressive students not to be hypersensitive over Halloween costumes portraying people of color. “Echo chambers do not produce the best teaching, research, or scholarship.”
Follow Dion J. Pierre @DionJPierre.