New York
For Black Women, Adrienne Adams Is More Than Just Another Candidate
As Adrienne Adams officially kicked off her mayoral campaign on Saturday, she urged potential voters at a rally in Jamaica, Queens, to view her as an alternative to the city’s two most recognizable candidates, Mayor Eric Adams and former Gov. Andrew M. Cuomo.
But many of her supporters see her candidacy as something else: an opportunity for Democrats to elect a qualified Black woman to lead the country’s largest city, less than a year after the bruising loss of Kamala Harris, the first Black woman to lead a major party presidential ticket.
Wearing a pink pantsuit, Ms. Adams entered to cheers at the Rochdale Village Shopping Center in southeast Queens and danced with supporters as “I’m Coming Out” by Diana Ross played.
“No drama, no scandal, no nonsense, just competence and integrity,” Ms. Adams said at the rally, summing up her candidacy.
Ms. Adams, the City Council speaker and a Queens native, faces a tough path to the mayor’s office amid a crowded primary field and her own considerable fund-raising lag. But to the city’s most steadfast Democratic voting bloc, Black women, Ms. Adams’s candidacy represents more than a litany of messaging and policy promises.
If elected, Ms. Adams would be the first woman to become mayor of New York City. So far, one other woman in the June 24 primary is vying for the job — Jessica Ramos, a Queens-based state senator who, if elected, would also be the city’s first Latino mayor.
Ms. Adams enters the race with roughly $200,000 in her campaign account, well behind the other candidates, who have been fund-raising for several months. She will need to quickly raise enough money to meet the threshold for matching funds. She will also need to rush to garner signatures before the city’s April 3 deadline for securing a place on the ballot.
But her allies say she may have a powerful lifeline in the city’s influential network of politically engaged Black women. Several prominent Black female Democrats, including Letitia James, the state attorney general, are supporting her campaign.
Ms. James, who made calls to influential labor and civic leaders and elected officials to gauge interest in Ms. Adams’s candidacy, said she was inspired to do so after hearing her speak at Albany Caucus Weekend.
The crowd broke out into a chant of “Run, Adrienne, run!”
“I could feel it,” Ms. James said. “Especially in the aftermath of the loss of Kamala Harris.”
Shortly after President Trump’s inauguration, a group of Black women in New York City who had worked to elect Ms. Harris and were mourning her defeat began channeling their energy into assembling a wish list of Black women who could run for mayor.
They wanted Ms. James to run. They noted, however, that she had begun collaborating with attorneys general from across the country to file lawsuits against the Trump administration’s policies, including the mass firing of federal employees and the freezing of billions in congressionally approved payments to states, and did not want to take her away from that work.
Another person the women considered was Jennifer Jones Austin, the chief executive of the Federation of Protestant Welfare Agencies. In an interview, Ms. Jones Austin celebrated Ms. Adams’s entrance into the race, but added a word of caution about the pragmatism of Black voters.
Most of the city’s Black female voters will consider candidates’ policies and electability over their demographics in deciding whom to vote for, she said. Still, pointing to the unsuccessful campaigns of Ms. Harris and Maya Wiley, the president and chief executive of the Leadership Conference on Civil and Human Rights who ran in 2021 to be the city’s first Black woman mayor, there remains an active base for Ms. Adams to court, Ms. Jones Austin said.
“I don’t think that because in both instances the women did not ultimately prevail means that Black women are disconnected, disenchanted or now apathetic in any way,” said Ms. Jones Austin, who is remaining neutral in the primary.
Three other Black women have run for mayor of New York City before Ms. Adams, including Ms. Wiley; C. Virginia Fields, a former Manhattan borough president; and Dianne Morales, a nonprofit executive who identifies as Afro-Latina.
Yet, in many ways, Ms. Adams finds herself in a situation similar to that of Ms. Harris. She was drafted into the race as an alternative to Mr. Adams and Mr. Cuomo, both of whom, like Mr. Trump, have a history of ethical issues and allegations of sexual misconduct, which both men have denied.
That point was driven home by Althea Stevens, a councilwoman from the Bronx who referred to Ms. Harris’s defeat in her speech at Ms. Adams’s campaign launch.
“The last time a Black woman ran a couple of months ago, we didn’t listen, and now we are dealing with the consequences,” Ms. Stevens said.
A recent Quinnipiac poll found Mr. Cuomo leading with 31 percent of support from Democratic voters and Mr. Adams far behind in second with 11 percent. Ms. Adams, who is not related to the mayor, trailed with 4 percent, but the poll was taken last week before she entered the race, and she was still polling above some candidates who had been running for months. Ms. Ramos also had 4 percent.
Ms. Adams has a record of standing up to the mayor on the budget and even leading the Council to override two of his vetoes on public safety bills, the first time that had been done in two decades. She has notably dropped her last name from her campaign literature, making it just “Adrienne, Democrat for NYC Mayor.”
“I plan to build a winning coalition by appealing to New Yorkers who want a city government that has restored trust and effectiveness for every single community,” Ms. Adams said in an interview.
Black women have often been hailed as the “backbone” of the Democratic Party, a nod to their long track record of supporting Democratic candidates en masse. More than nine in 10 Black female voters cast a ballot for Ms. Harris in November and Black women make up a larger portion of the city’s Black Democratic base.
Ms. Adams, as a representative of that group and a product of Spelman College, a historically Black women’s college in Atlanta, could have an inside track to galvanizing their support.
She has focused her tenure as speaker on issues such as maternal health, restoring budget cuts to libraries, community mental health and college access, and has cultivated a natural base of support, said Yvette Buckner, a Democratic strategist and co-chairwoman of the New Majority NYC, a group dedicated to electing women to the City Council.
“She understood the assignment,” Ms. Buckner said.
But Mr. Cuomo also understands the importance of Black women voters. Since he announced his candidacy last weekend, he has rolled out a steady stream of endorsements from Black women elected officials. Hours before Ms. Adams’s campaign kickoff, he announced that another Black councilwoman from Brooklyn had endorsed him.
For Black women in New York who are still feeling the sting of Ms. Harris’s loss, Ms. Adams’s entry into the mayoral race could be reinvigorating. Mr. Trump has interjected himself into the city’s affairs, seeking to cancel congestion pricing and calling for the dismissal of the federal corruption charges against Mr. Adams.
“We do think that this is a time where our leadership is needed,” said Waikinya Clanton, founder of Black Women for Kamala Harris. “Especially at the local level.”
New York
Essential New York City Movies Picked by Ira Sachs and Blondie’s Debbie Harry and Chris Stein
Film
‘Make Way for Tomorrow’ (1937), directed by Leo McCarey
The log line: After the bank forecloses on their home, an elderly couple must separate, each living with a different one of their adult children.
The pitch: “It’s a film that Orson Welles famously said ‘would make a stone cry,’” says Sachs, 60, about McCarey’s movie, singling out a long sequence at the end that depicts “a date through certain lobbies and bars of New York City that offers a snapshot of Midtown in the ’30s.”
‘The World of Henry Orient’ (1964), directed by George Roy Hill
The log line: A wily 14-year-old girl and her best friend follow a ridiculous concert pianist, on whom they have a crush, around the city.
The pitch: Hill’s 1960s romp inspired Sachs’s film “Little Men” (2016), which is about boys around the same age as these protagonists. “It’s an extraordinarily sweet film that also seems, to me, very honest,” he says.
‘Coming Apart’ (1969), directed by Milton Moses Ginsberg
The log line: Rip Torn plays an obsessive psychiatrist who secretly films all the women passing through his home office, inadvertently capturing his own mental breakdown.
The pitch: Shot in one room with a fixed camera, Ginsberg’s film “really feels of a time,” says Sachs. It’s also “very sexual and very free,” reminding him of what’s possible when it comes to making movies.
‘Deadly Hero’ (1975), directed by Ivan Nagy
The log line: A disturbed, racist cop saves a cellist from a crook, only to become her tormentor.
The pitch: Harry, 80, and Stein, 76, were extras in Nagy’s film, which stars Don Murray, Diahn Williams and James Earl Jones as the cop, the cellist and the crook, respectively. The pair call the movie “[expletive] weird,” but also say that their day rate — $300 — “was the most money we’d ever made on anything” up to that point.
‘News From Home’ (1976), directed by Chantal Akerman
The log line: An experimental documentary by Akerman, a Belgian filmmaker who moved to New York in her early 20s, the film features long takes of the city and voice-over in which the director reads letters from her mother.
The pitch: “I’m intrigued by how beauty contains sadness in the city,” says Sachs. Not only is her film a “beautiful record of the city” but it captures “what it is to be alone here, to have left some sort of community and, in particular for Chantal, separated from her mother.”
‘Wolfen’ (1981), directed by Michael Wadleigh
The log line: Albert Finney stars as a former N.Y.P.D. detective who returns to the job to solve a violent and bizarre string of murders.
The pitch: Wadleigh’s film is not only a vehicle for Finney, says Stein, it also “has a lot of footage from the South Bronx when it was still completely destroyed” by widespread arson in the 1970s.
‘Losing Ground’ (1982), directed by Kathleen Collins
The log line: Collins’s film — the first feature-length drama for a major studio directed by an African American woman — observes a rocky relationship between a college professor and her painter husband.
The pitch: Sachs calls “Losing Ground” “a revelation.” The characters are “so human and fascinating and extremely modern,” he says, adding that he loves a movie that “exists in some very complete version of the local.”
‘After Hours’ (1985), directed by Martin Scorsese
The log line: In Scorsese’s black comedy, an office worker (Griffin Dunne) has a surreal and bizarre evening of misadventure while trying to get back uptown from a woman’s apartment in SoHo.
The pitch: Harry and Stein recommend this zany tale and borderline “nightmare” for the way it captures a bygone era of New York. “It’s this great image of [Lower Manhattan] when it was still raw, you know, Wild West territory,” Stein says.
‘Downtown 81’ (shot in 1980-81, released in 2000), directed by Edo Bertoglio
The log line: Bertoglio’s film is a striking portrait of a young artist who needs to raise money so he can return to the apartment from which he’s been evicted.
The pitch: Jean-Michel Basquiat stars as the artist in this snapshot of life in New York during the ’80s. Despite all the drama surrounding it — postproduction wasn’t completed until 20 years after filming, and for many years the movie was considered lost — the film is notable, says Stein, because “it’s got all the characters and all our buddies in it.”
These interviews have been edited and condensed.
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Theater
Quincy Tyler Bernstine
A master of active stillness, the 52-year-old Bernstine (imposing in the 2024 revival of John Patrick Shanley’s “Doubt,” above) has that great actorly gift of making thought visible. A natural leader onstage, she compels audiences to follow her.
Victoria Clark
One of the theater’s best singing actors, with Tonys for Adam Guettel and Craig Lucas’s “The Light in the Piazza” (2005) and David Lindsay-Abaire and Jeanine Tesori’s “Kimberly Akimbo” (above, 2022), Clark, 66, performs not on top of the notes but through them, delivering complicated characterization and gorgeous sound in each breath.
Susannah Flood
Flood, 43, is a true expert at confusion, a good thing because she often plays characters like the twisted-in-knots Lizzie in Bess Wohl’s “Liberation” (above, 2025). What makes that confusion thrilling is how she grounds it not in a lack of information or purpose but, just like real life, in an excess of both.
Jonathan Groff
The rare musical theater man with the unstoppable drive of a diva, Groff, 41, sweats charisma, as audience members in ringside seats at Warren Leight and Isaac Oliver’s Broadway musical “Just in Time” (above, 2025) recently discovered. Giving you everything, he makes you want more.
William Jackson Harper
Unmoored characters are often unsympathetic. But whether playing a confused doctor in the 2024 revival of Anton Chekhov’s “Uncle Vanya” or a delusional bookstore clerk in Eboni Booth’s “Primary Trust” (above, 2023), Harper, 46, makes vulnerability look easy, and hurt hard.
Joshua Henry
There are singers who blow the roof off theaters, but the 41-year-old Henry’s voice is so huge and deeply connected to universal feelings that he seems to be singing inside you. Currently starring in the Broadway revival of “Ragtime” (above, by Lynn Ahrens, Stephen Flaherty and Terrence McNally), he blows the roof off your head.
Mia Katigbak
Superb and acidic in almost any role — in distress (Annie Baker’s 2023 “Infinite Life,” above) or in command (2024’s “Uncle Vanya”) — Katigbak, 71, finds the sweet spot in even the sourest truths of the human condition.
Judy Kuhn
With detailed intelligence and specific intention informing everything she sings, Kuhn, 67, is (among other things) a Stephen Sondheim specialist — her take on Fosca in “Passion” (above, 2012) was almost literally wrenching. It requires intellectual stamina to keep up with the master word for word.
Laurie Metcalf
The fierce, sharp persona you may know from her years on “Roseanne” (1988-97) is about a tenth of the blistering commitment Metcalf, 70, offers onstage in works like Samuel D. Hunter’s “Little Bear Ridge Road” (above, 2025). She goes there, no matter the destination.
Deirdre O’Connell
For 40 years an Off Broadway treasure, O’Connell, 72, handles the most daring, out-there material — including, recently, a 12-minute monologue of cataclysmic gibberish in Caryl Churchill’s “Kill” (above, 2025) — as if it were as ordinary as barroom gossip.
Conrad Ricamora
Revealing the Buddy Holly in Benigno Aquino Jr. (in the 2023 Broadway production of David Byrne and Fatboy Slim’s “Here Lies Love”) or the queer wolf in Abraham Lincoln (in Cole Escola’s “Oh, Mary!,” above, last year), Ricamora, 47, is uniquely capable of great dignity and great silliness — and, wonderfully, both together.
Andrew Scott
It’s a tough competition, but Scott, 49, may have the thinnest skin of any actor. Whether he’s onstage (playing all the characters in Simon Stephens’s Off Broadway “Vanya,” above, in 2025) or on film, every emotion — especially rue — reads right through his translucence.
Michael Patrick Thornton
Some actors are hedgehogs, projecting one idea blazingly. Thornton, 47, is a fox, carefully hoarding ideas and motivations. Keeping you guessing as Jessica Chastain’s benefactor in the 2023 revival of Henrik Ibsen’s “A Doll’s House” or as a pathetic lackey in last year’s production of Samuel Beckett’s “Waiting for Godot” (above, center), he holds you in his thrall.
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How can people possibly afford to live in one of the most expensive cities on the planet? It’s a question New Yorkers hear a lot, often delivered with a mix of awe, pity and confusion.
We surveyed hundreds of New Yorkers about how they spend, splurge and save. We found that many people — rich, poor or somewhere in between — live life as a series of small calculations that add up to one big question: What makes living in New York worth it?
Here’s one way to make New York more affordable: triple your income. After moving from Baton Rouge, La., in 2016 to attend graduate school, Daniel Babin lived mostly on red beans and rice or homemade “slop pots,” renting rooms in what he called a “cult house” and a building on a block his girlfriend was afraid to visit.
Then, in January, he got a job as a geologist with a mineral exploration company, with a salary of $200,000, plus a $15,000 signing bonus. A new city suddenly opened up to him. “I can take a woman out on a $300 dinner date and not look at the check and not feel bad about it,” he said. He also now has health insurance.
Mr. Babin, 32, a marine geologist who also leads an acoustic string band, now navigates two economic worlds, one shaped to his postdoctoral income of $70,000 a year — when his idea of a date was a walk in Central Park — and the other reflecting his new income. In this world, he is shopping for a vintage Martin Dreadnought guitar, for which he will gladly drop $4,000.
Finding a New Base Line
On a recent morning at Mr. Babin’s home in Bushwick, Brooklyn, where he shares a 6,800-square-foot cohousing space with 17 roommates, he was still figuring out how to manage this split.
“I’m feeling less inclined to just let it rip than I was a few months ago,” he said of his spending habits. He socks away $1,500 from each paycheck, and has not moved to replace his 2003 Toyota Corolla, an “absolute dump” given to him by his father. “Hopefully, I’m returning a little bit to some kind of base-line lifestyle that I’ve established for myself over the last five years,” he continued. “Because the fear is lifestyle inflation. You don’t want to just make more money to spend more money. That’s not the point, right?”
Lightning Lofts, the cohousing space where Mr. Babin has lived since January 2024, bills itself as part of a “social wellness movement” and seeks to continue the ethos of Burning Man, the annual communal art and cultural festival in the Nevada desert.
For a room with an elevated loft bed and use of common areas, Mr. Babin pays $1,400 a month in rent, plus another $250 for utilities and weekly housecleaning.
He was first drawn to the organization through its events, including open mic “salons” where he played music or read from his science fiction writings. These were free or very cheap nights out, unpredictable and fascinating.
“You would see dance and tonal singing, and some dude wrote an algorithm that can auto-generate A.I. video based on what you’re saying — beautiful storytelling,” he said.
“So I just showed up every month, basically, until they let me live here.”
The room was a good deal. He had looked at a nearby building where the rent was $1,900 for a room in a basement apartment that flooded once a month. “Ridiculous,” he said.
But beyond its financial appeal, Mr. Babin liked the loft’s social life. “I used to be chronically lonely, and I just don’t feel lonely anymore,” he said. “Which is fantastic in a crazy place like New York. It’s so alive and it’s so isolating at the same time.”
Splurging on Ski Trips
Before Mr. Babin got his new job, he used to go to restaurants with friends and not eat, trying to save up $35 for a “burner” party — in the spirit of Burning Man — or Ecstatic Dance, a recurring substance-free dance party. He loved to ski but could not afford a hotel, so he would carry his old skis and beat-up boots to southern Vermont and back on the same day.
“Going on a hike is a pretty cheap hobby,” he said, recalling his money-saving measures. “Living without health insurance is a good one.”
He still appreciates a good hike, he said. But on a recent ski trip, he splurged on new $700 boots and another $300 worth of gear. “I’m like, this is something I’ve wanted for 10 years, so I deserve it,” he said.
He bought a $600 drone to take pictures for his social media accounts, and then promptly crashed it into the Caribbean (he’s now replacing the rotors in hopes of returning it to health).
He cut out the red beans and rice, he said, but his usual meal is still a modest $13 sandwich from the nearby bodega or $10 for pizza. “If I’m getting takeout and it’s less than $17, I don’t feel too bad about it,” he said.
A Future After Cohousing
A big change is that dating is much more comfortable now, and he feels more attractive as a marriage prospect. “It turns out that a lot more people pay attention to you if you offer them dinner instead of a walk in the park,” he said.
He is now thinking of leaving the cohousing space — not just because he can afford to, but because his work has kept him from joining house events, like the regular potluck dinners. “I sometimes feel like a bad roommate, because part of being here is participating,” he said. “I feel like there might be someone who would enjoy the community aspect more than I’m capable of contributing right now.”
He sounds almost wistful in discussing his former economizing. If it weren’t for the dating issue, he said, he would not need the higher income or lifestyle upgrades. “I never really felt like I was compromising on what I wanted to do,” he said.
He paused. “It’s just that what I was comfortable with has changed a little bit.”
We are talking to New Yorkers about how they spend, splurge and save.
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