The Rise of the Virtual Restaurant

Ricky Lopez owns four restaurants: Top Round Roast Beef in San Francisco and three that exist only within the Uber Eats delivery app.CreditCreditCayce Clifford for The New York Times
Ricky Lopez owns four restaurants: Top Round Roast Beef in San Francisco and three that exist only within the Uber Eats delivery app.CreditCreditCayce Clifford for The New York Times
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The Rise of the Virtual Restaurant

Ricky Lopez owns four restaurants: Top Round Roast Beef in San Francisco and three that exist only within the Uber Eats delivery app.CreditCreditCayce Clifford for The New York Times
Ricky Lopez owns four restaurants: Top Round Roast Beef in San Francisco and three that exist only within the Uber Eats delivery app.CreditCreditCayce Clifford for The New York Times

Food delivery apps are reshaping the restaurant industry — and how we eat — by inspiring digital-only establishments that don’t need a dining room or waiters.

At 9:30 on most weeknights, Ricky Lopez, the head chef and owner of Top Round Roast Beef in San Francisco, stacks up dozens of hot beef sandwiches and sides of curly fries to serve hungry diners.

He also breads chicken cutlets for another of his restaurants, Red Ribbon Fried Chicken. He flips beef patties on the grill for a third, TR Burgers and Wings. And he mixes frozen custard for a dessert shop he runs, Ice Cream Custard.

Of Mr. Lopez’s four operations, three are “virtual restaurants” with no physical storefronts, tables or chairs. They exist only inside a mobile app, Uber Eats, the on-demand meal delivery service owned by Uber.

“Delivery used to be maybe a quarter of my business,” Mr. Lopez, 26, said from behind Top Round’s counter, as his staff assembled roast beef and chicken sandwiches and placed them in white paper bags for Uber Eats drivers to deliver. “Now it’s about 75 percent of it.”

Food delivery apps like Uber Eats, DoorDash and Grubhub are starting to reshape the $863 billion American restaurant industry. As more people order food to eat at home, and as delivery becomes faster and more convenient, the apps are changing the very essence of what it means to operate a restaurant.

No longer must restaurateurs rent space for a dining room. All they need is a kitchen — or even just part of one. Then they can hang a shingle inside a meal-delivery app and market their food to the app’s customers, without the hassle and expense of hiring waiters or paying for furniture and tablecloths. Diners who order from the apps may have no idea that the restaurant doesn’t physically exist.

The shift has popularized two types of digital culinary establishments. One is “virtual restaurants,” which are attached to real-life restaurants like Mr. Lopez’s Top Round but make different cuisines specifically for the delivery apps. The other is “ghost kitchens,” which have no retail presence and essentially serve as a meal preparation hub for delivery orders.

“Online ordering is not a necessary evil. It’s the most exciting opportunity in the restaurant industry today,” said Alex Canter, who runs Canter’s Deli in Los Angeles and a start-up that helps restaurants streamline delivery app orders onto one device. “If you don’t use delivery apps, you don’t exist.”

Many of the delivery-only operations are nascent, but their effect may be far-reaching, potentially accelerating people’s turn toward order-in food over restaurant visits and preparing home-cooked meals.

Uber and other companies are driving the change. Since 2017, the ride-hailing company has helped start 4,000 virtual restaurants with restaurateurs like Mr. Lopez, which are exclusive to its Uber Eats app.

Janelle Sallenave, who leads Uber Eats in North America, said the company analyzes neighborhood sales data to identify unmet demand for particular cuisines. Then it approaches restaurants that use the app and encourages them to create a virtual restaurant to meet that demand.

Other companies are also jumping in. Travis Kalanick, the former Uber chief executive, has formed CloudKitchens, a start-up that incubates ghost kitchens.

Yet even as delivery apps create new kinds of restaurants, they are hurting some traditional establishments, which already contend with high operating expenses and brutal competition. Restaurants that use delivery apps like Uber Eats and Grubhub pay commissions of 15 percent to as much as 30 percent on every order. While digital establishments save on overhead, small independent eateries with narrow profit margins can ill afford those fees.

“There’s a concern that it could be a system where restaurant owners are trapped in an unstable, unsuitable business model,” Mark Gjonaj, the chairman of the New York City Council’s small-business committee, said at a four-hour hearing on third-party food delivery in June.

Delivery apps may also undermine the connection between diner and chef. “A chef can occasionally walk out of the dining room and observe a diner enjoying his or her food,” said Shawn Quaid, a chef who oversaw a ghost kitchen in Chicago. Delivery-only facilities “take away the emotional connection and the creative redemption.”

Uber and other delivery apps maintain that they are helping restaurants, not hurting them.

“We exist for demand generation,” said Ms. Sallenave. “Why would a restaurant be working with us if we weren’t helping them increase their orders?”

Delivery-only establishments in the United States date to at least 2013, when a start-up, the Green Summit Group, began work on a ghost kitchen in New York. With Grubhub’s backing, Green Summit produced food that was marketed online under brand names like Leafage (salads) and Butcher Block (sandwiches).

But Green Summit burned through hundreds of thousands of dollars a month, said Jason Shapiro, a consultant who worked for the company. Two years ago, it shut down when it couldn’t attract new investors, he said.

In Europe, the food-delivery app Deliveroo also started testing ghost kitchens. It erected metal kitchen structures called Rooboxes in some unlikely locations, including a derelict parking lot in East London. Last year, Deliveroo opened a ghost kitchen in a warehouse in Paris, where Uber Eats has also tried delivery-only kitchens.

Ghost kitchens have also emerged in China, where online food delivery apps are widely used in the country’s densely populated megacities. China’s food delivery industry hit $70 billion in orders last year, according to iResearch, an analysis firm. One Chinese ghost kitchen start-up, Panda Selected, recently raised $50 million from investors including Tiger Global Management, according to Crunchbase.

Those experiments have spread. Over the last two years, Family Style, a food start-up in Los Angeles, has opened ghost kitchens in three states. It has created more than half a dozen pizza brands with names like Lorenzo’s of New York, Froman’s Chicago Pizza and Gabriella’s New York Pizza, which can be found on Uber Eats and other apps.

CloudKitchens, which Mr. Kalanick founded after leaving Uber in 2017, has leased kitchen space to several established restaurants in Los Angeles, including the farm-to-table chain Sweetgreen, to try the delivery-only model. The Los Angeles facility is one of several ghost kitchens used by Sweetgreen, whose chief executive, Jonathan Neman, has spoken enthusiastically about them.

And Kitchen United, a ghost-kitchen company in Pasadena, Calif., is working with brick-and-mortar restaurants to set up delivery-only establishments. It aims to establish 400 such “kitchen centers” across the country over the next few years.

When it comes types of food, “consumers don’t appear to be saying they’re looking for additional options,” said Jim Collins, Kitchen United’s chief executive. “They appear to be looking for new modes of consumption.”

For Paul Geffner, the growing popularity of food-delivery apps has hurt. He has run Escape From New York Pizza, a small restaurant chain in the Bay Area, for three decades, relying on delivery orders as a major source of revenue.

After he offered delivery through the apps in 2016, his business teetered. Two of his five pizzerias, which together had generated annual profits of $50,000 to $100,000, lost as much as $40,000 a year as customers who had ordered directly from Escape From New York switched to the apps. That forced Mr. Geffner to pay the commissions.

“We saw a direct correlation between the delivery services and the reduction of our income,” Mr. Geffner said. “It was like death by a thousand cuts.”

In May, he closed the two locations. Later that month, one was replaced with a kitchen that mostly does delivery.

Mr. Lopez opened Top Round, a franchise that originated in Los Angeles, in 2017 in San Francisco’s Mission neighborhood. For the first eight months, he said, he lost tens of thousands of dollars.

Last year, Uber approached Mr. Lopez and told him there was demand for late-night orders of burgers and ice cream in his area. Uber, which does not provide financial help to virtual restaurants, has claimed that the digital operations increase sales for restaurateurs by an average of more than 50 percent.

Now he uses Top Round’s kitchen to serve hundreds of new customers across San Francisco. Though he wouldn’t disclose financial information, Mr. Lopez said he had hired another employee to handle the influx of delivery orders. Those orders have stabilized the restaurant’s income so that he no longer works 110-hour weeks just to keep the business afloat.

“We used to close at 9 p.m., but demand has pushed us to stay open later — we close at 2 a.m. now,” Mr. Lopez said. “Most of the night, the kitchen is banging.”

The New York Times



Volcano Guides at Mount Etna are Protesting over New Safety Rules

A group of people observes glowing lava emerging from a fissure during ongoing volcanic activity on Mount Etna in Catania, Sicily, Italy, January 3, 2026. REUTERS/Antonio Denti
A group of people observes glowing lava emerging from a fissure during ongoing volcanic activity on Mount Etna in Catania, Sicily, Italy, January 3, 2026. REUTERS/Antonio Denti
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Volcano Guides at Mount Etna are Protesting over New Safety Rules

A group of people observes glowing lava emerging from a fissure during ongoing volcanic activity on Mount Etna in Catania, Sicily, Italy, January 3, 2026. REUTERS/Antonio Denti
A group of people observes glowing lava emerging from a fissure during ongoing volcanic activity on Mount Etna in Catania, Sicily, Italy, January 3, 2026. REUTERS/Antonio Denti

Guides who take tourists to enjoy the striking views of Sicily’s Mount Etna are up in arms over tougher restrictions imposed by local authorities after a round of eruptions at the giant volcano in recent weeks.

Authorities in the city of Catania have suspended or restricted excursions to see the volcano's lava flows, prompting guides to go on strike for the first time in decades and leaving disgruntled tourists with fewer options to see the spectacle up close, The Associated Press reported.

Dozens of the guides demonstrated Wednesday in front of Mount Etna’s lava flow gate, calling the new restrictions excessive and saying the lava flows are slow-moving enough to be viewed safely as has been done in the past.

“These measures effectively nullify the role of guides, stripping them of their skills, function, and professional responsibility,” a statement by the guides’ regional board said.

The lava flows are especially spectacular after sunset, but under the new rules, excursions are allowed only until dusk and can go no closer than 200 meters (660 feet) to the lava flow. Also, a previously existing limit of 10 people per group is being vigorously enforced, including with drones.

Mount Etna is Europe’s most active volcano and the continent’s largest. It attracts hikers and backpackers to its slopes, while less adventurous tourists can take it in from a distance, most stunningly from the Ionian Sea.

At 3,350 meters (almost 10,990 feet) tall and 35 kilometers (21.7 miles) wide, the Sicilian giant frequently offers a front-row seat to nature’s power. Last June, a massive eruption forced tourists to flee the volcano after a plume of high-temperature gases, ash and rock several kilometers high billowed into the air above them.

The latest restrictions were adopted after Mount Etna started a round of eruptions on Christmas Eve.

The most advanced lava front reached 1,360 meters (4,460 feet) above sea level, before stopping and entering a cooling phase after a journey of approximately 3.4 kilometers (about 2 miles), local authorities said. The lava flow poses no danger to nearby residential areas, volcanologists say.

Italy's National Institute of Geophysics and Volcanology confirmed this week that Mount Etna’s eruption is ongoing, but said the lava fronts are cooling and not advancing further.

“This is a lava flow that is descending very slowly on an area that is now also flat or semi-flat,” said Dario Teri, 43, a member of Sicily’s association of alpine and volcano guides who participated in Wednesday’s protest.

The guides, who are expected to continue their strike in the coming days, hope to come to a compromise with authorities that can protect their profession while also ensuring the safety of visitors.

Claudia Mancini, a 32-year-old tourist, said she came from Palermo for an excursion with a guide at Mount Etna.

“Unfortunately, we got the bad news of the cancelling of all activity,” Mancini said, adding that she sympathized with the guides over a situation that “is not making anyone happy.”


Lego Unveils Tech-Filled Smart Bricks

Lego unveils Smart Bricks (AFP)
Lego unveils Smart Bricks (AFP)
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Lego Unveils Tech-Filled Smart Bricks

Lego unveils Smart Bricks (AFP)
Lego unveils Smart Bricks (AFP)

Lego has unveiled Smart Bricks - tech-filled versions of its small building blocks - which it says will bring sets to life with sound, light and reaction to movement, according to the BBC.

However, the new product range has got a mixed reaction from play experts, who said it risks undermining what makes Lego distinct for children in an increasingly digital world.

Announced at the Consumer Electronics Show (CES) 2026 in Las Vegas, the Danish toymaker's Smart Play system introduces new electronic components to the classic plastic blocks.

Lego said its new tech-enabled products, launching in March with a new Star Wars set, are its “most revolutionary innovation” in nearly 50 years.

But Josh Golin, executive director of children's wellbeing group Fairplay, believes Smart Bricks could “undermine what was once great about Legos” - harnessing children's own imagination during play.

He said the toy did not require extra features to generate sounds or other effects.

“As anyone who has ever watched a child play with old-school Legos knows, children's Lego creations already do move and make noises through the power of children's imaginations,” he told the BBC.

Andrew Manches, professor of children and technology at the University of Edinburgh, agreed the beauty of Lego lay in “the freedom to create, re-create, and adapt simple blocks into endless stories powered by children's imagination.”

But he also welcomed Lego's efforts to integrate physical and digital play with tools that react to the way children interact with its Smart Play products.

Julia Goldin, the company's chief product and marketing officer, previously told the BBC it viewed digital technology as an opportunity to “expand physical play and physical building.”

“We don't look at the digital world as a threat,” she said - adding its smart range weaves interactivity “seamlessly” with its physical products.

What are Lego Smart Bricks?

Lego says its Smart Bricks can sense motion, position and distance, allowing the models to respond in various ways during play.

Measuring 2x4, the brick itself contains sensors, lights, a small sound synthesizer, an accelerometer and a custom-made silicon chip enabling it to detect movement and react to it.

But it is designed to be used with Smart Minifigures and Smart Tags tiles - two additional products making up Lego's Smart Play System.

Similarly adapted from existing Lego components, these possess digital identifiers triggering different sounds or reactions when they detect and interact with each other.

For instance, when tried out by the BBC at CES, a Lego birthday cake recognized when its “candles” were blown out - sounding a cheer and a happy birthday song.

Meanwhile, a Lego helicopter made whooshing sounds when moved or rotated, with its Smart Brick lighting up red upon crashing.

Tom Donaldson, head of Lego's Creative Play Lab, said the tech intended to respond to children's actions and complement the way they naturally play.

He said the Smart Brick's reactions to responses would “hopefully inspire and surprise the user to keep them continuing to play.”

“We are building a platform that we want to last for many years,” he said.
Manches told the BBC reduced cost and size of components has “enabled more toymakers to integrate digital technology seamlessly into a range of toys.”

But he added despite exciting innovation, concerns remain about the security and privacy of new and emerging smart toys for children - particularly those which integrate AI.

“The key is to us all to remain critically reflective of the design of these toys, and to pay much attention to how they influence children's everyday lives,” he said.

It is not the first time Lego has dabbled in digital experimentation or sought to appeal to increasingly online audiences.

Since 2017 it has released augmented reality apps and experiences letting people play with computer-generated models layered over their surroundings.

Through collaborations with video game publishers such as Nintendo and Fortnite-maker Epic Games it has also looked to appeal to fans of trending games or new launches - releasing a Super Mario Minifigure in 2020 with a tiny display screen.

Lego chief executive Niels B. Christiansen said in the firm’s 2024 annual report it had accelerated spending on digital technology as a “strategic area” for the company.


Did Leonardo da Vinci Leave his DNA on Artwork?

Beige seamless vector background with Leonardo da Vinci sketch drawings (Shutterstock)
Beige seamless vector background with Leonardo da Vinci sketch drawings (Shutterstock)
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Did Leonardo da Vinci Leave his DNA on Artwork?

Beige seamless vector background with Leonardo da Vinci sketch drawings (Shutterstock)
Beige seamless vector background with Leonardo da Vinci sketch drawings (Shutterstock)

Scientists have recovered tiny DNA traces left on Renaissance artifacts, at least some of which they suspect belong to visionary Italian polymath Leonardo da Vinci.

They have recovered trace DNA from a red chalk drawing on paper called “Holy Child”, possibly made by da Vinci, and letters written by his ancestor, Frosino di Ser Giovanni da Vinci, held at a historical archive in Italy, according to The Independent.

Some Y-chromosome DNA sequences from the “Holy Child” artwork and from a letter penned by one of Leonardo’s cousins appear to belong to a genetic grouping of people with a shared ancestry in Tuscany, where the painter was born, according to the study.

When scientists compared the Y-chromosome DNA sequences from the artifacts with large Y-chromosome reference databases, they found the closest match within the broad lineage.

This Y-chromosome lineage is found today at notable frequencies in southern Europe, including Italy, North Africa and parts of the Near East.

Some of the DNA may be from da Vinci himself.

However, this is not conclusive proof, as establishing that any DNA trace from the artifacts indeed belongs to da Vinci is extremely complex, researchers said.

This is because scientists can’t verify genetic sequences from the artifacts against DNA known to have come from da Vinci himself. The iconic inventor has no known descendants and his burial site was disturbed in the early 19th century.

Historical artifacts can accumulate DNA from their environments and can potentially offer useful information about the people who created and handled them, the materials used to make them as well as the environments they passed through.

But studying such precious objects without damaging or contaminating them has long been a challenge.

Now, though, scientists have developed a “minimally invasive” method to recover “biological signatures of history” from Renaissance artwork and correspondence associated with da Vinci’s ancestors.

Most of the DNA traces belong to bacteria, fungi, plants, and viruses, shedding light on the nature of the materials of these artifacts, their storage environment, conservation treatments, and handling over the years.

Some of the genetic material, however, comes from humans.

Since the artifacts assessed in the new study were associated with male historical figures, scientists looked at markers of Y-chromosome DNA found in the biological samples.

“To enable stronger claims, especially relating to provenance, geolocation, or historical characteristics, future work is needed to help distinguish artifact-associated signal from modern handling,” researchers said.