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Brad Lander’s 2 Goals in N.Y.C. Mayor’s Race: Beat Cuomo and Win

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Brad Lander’s 2 Goals in N.Y.C. Mayor’s Race: Beat Cuomo and Win

Brad Lander, the New York City comptroller and self-described “tough nerd,” knows that for him to win the race for mayor of New York City, Andrew M. Cuomo must fall.

To make that more likely, Mr. Lander decided that his campaign strategy needed an overhaul. He would no longer focus his ire on the increasingly inconsequential mayor of New York City, Eric Adams, and his apparent alliance with the Trump administration.

Instead, Mr. Lander, the Park Slope father with the University of Chicago degree, would use his distinctive voice — a singsong lilt that his critics find grating — to try to take down Mr. Cuomo, the former governor leading in the polls.

During a Passover week meal of latkes and matzo ball soup at a restaurant on Montague Street in Brooklyn, Mr. Lander unspooled his indictment of Mr. Cuomo, allegation by allegation.

“I know he looks like a good leader, but actually, you know, he’s just a corrupt chaos agent with an abusive personality that has shown through in every position he’s been in, and that’s dangerous for New York City,” Mr. Lander said, stopping only to spread sour cream and apple sauce on his potato pancake, or to sip from his French 75, a cocktail he likes because it is fizzy.

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New Yorkers, he said, deserved a stark alternative: “I am a decent person. Let’s just start there.”

In eight weeks, Democratic primary voters will choose a candidate for mayor, with the victor promptly becoming the favorite to win the November general election in a city where Democrats outnumber Republicans six to one.

What kind of person New Yorkers want as their mayor is the elemental question of this and any mayor’s race. Do they want someone who projects a muscle-car style of masculinity, like the former governor, who resigned in disgrace in 2021 after an investigation found he had sexually harassed 11 women? (Mr. Cuomo has denied wrongdoing.)

Would they rather a female politician adept at projecting an even-tempered self-confidence, like the City Council speaker, Adrienne Adams? Would they prefer a charismatic democratic socialist and son of a movie director from Queens with an age-appropriate aptitude for social media, like Assemblyman Zohran Mamdani, who is now polling in second place?

Or would they like Mr. Lander, an earnest-seeming policy wonk who read Antigone in the original Greek; a former member of the Democratic Socialists of America who in 2020 said he still considered himself a member, but whose spokeswoman now says hasn’t attended a D.S.A. meeting in decades; a critic of the city-backed financing of the Hudson Yards development on Manhattan’s West Side who has since come around; a reform Jew who considered becoming a rabbi, and who is also an anti-occupation Netanyahu critic who cursed Mr. Cuomo in Yiddish as he accused him of wielding antisemitism as a political weapon?

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At the moment, it appears that New York City voters are looking elsewhere. Mr. Lander is polling at 6 percent among registered Democratic voters, well behind Mr. Mamdani, a liberal upstart who has energized much of Mr. Lander’s presumptive base. Twenty percent of voters remain undecided. Mayor Adams has opted out of the Democratic primary and will run as an independent in November instead.

Lander partisans note that it is early. At this point in 2021, Andrew Yang was still leading the polls, Mr. Adams was in second place, and Maya Wiley, a civil rights lawyer, and Kathryn Garcia, the former sanitation commissioner, were polling at 7 and 4 percent, according to a Spectrum News NY1/Ipsos poll from the time.

That June, Ms. Garcia lost to Mr. Adams by just 7,000 votes, Ms. Wiley finished third, and Mr. Yang finished fourth. And Mr. Lander won the Democratic primary for comptroller.

“What I did last time to win was build a coalition that had the Maya Wiley voters, like people that have a more progressive vision of a city that can deliver on affordability, and Kathryn Garcia voters, who just want a good manager who loves New York City,” Mr. Lander said.

“And I believe that coalition still exists and can be a majority of the Democratic primary electorate.”

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But first, Mr. Lander said, Mr. Cuomo has to be “knocked down.”

To that end, Mr. Lander has bombarded the press with anti-Cuomo messaging, hoping that something, anything, will stick.

“Lander Demands Cuomo Release His Tax Returns After History of Shady Business and Lies About His Income,” read one news release. “In Addition to Shady Crypto Client, Who Else Has Cuomo Been Paid to Advise Since Resigning as Governor?” read another.

Mr. Lander’s first real political encounter with Mr. Cuomo happened in 2017, when Mr. Lander was the city councilman representing Park Slope, Brooklyn, and Mr. Cuomo was still governor.

Mr. Cuomo effectively killed a New York City law imposing a 5-cent fee on plastic bags that Mr. Lander had sponsored, acting right before it was set to begin. “Plastic bags won,” Mr. Lander said at the time.

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Four years after Mr. Lander’s bill passed the City Council, a plastic bag ban signed by Mr. Cuomo went into effect.

“We call that 40 billion plastic bags later,” Mr. Lander said.

More damning, Mr. Lander argues, were the Cuomo administration’s choices during the height of the Covid pandemic, when it directed nursing homes to accept infected patients, and then failed to publicly account for the deaths of more than 4,000 nursing home residents, according to an audit by the state comptroller, Thomas P. DiNapoli.

Mr. Lander has also tried to highlight the estimated $61 million New York has spent on legal representation related to issues surrounding Mr. Cuomo’s tenure.

“In every relationship, he views it as like, how could I manipulate this other party to my benefit?” Mr. Lander said. “And I really think that’s how he thinks about New York City.”

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And so, inevitably, more than an hour into a pro-migrant, pro-trans-rights, pro-Mr. Lander event at a Unitarian church in Brooklyn Heights, Mr. Lander turned to Mr. Cuomo.

He pinned Mr. Cuomo’s polling status on “name recognition in a time of Trumpian distraction” and “pandemic memory repression.” He invoked a former Syracuse mayor, Stephanie Miner, who recently described Mr. Cuomo’s kissing her against her will as a power play. He brought up Covid and the $5 million book deal on which Mr. Cuomo used government resources. He noted that Mr. Cuomo’s lawyer had sought the gynecological records of a woman who had accused him of harassment.

“This is an abusive, corrupt person who is running for his own revenge tour,” Mr. Lander said. “He is not looking to solve the problems of New York City, where he hasn’t lived in 25 years.”

Then Mr. Lander asked the room to sing “Happy Birthday” to his 81-year-old mother, whose celebration he was missing while on the campaign trail. The audience happily complied.

In a statement, Esther Jensen, a spokeswoman for Mr. Cuomo, described Mr. Lander’s strategy as “bizarre.”

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“New Yorkers aren’t naïve,” she said. “They know Governor Cuomo is the only person in this race with the proven record of accomplishment, and leadership necessary to effectively confront the very serious challenges we face, and take on President Trump, which is why these repeated gutter attacks from Brad Lander, a career politician, with no meaningful record or vision of his own, are not only not working, but backfiring.”

Mr. Lander, the 55-year-old son of a St. Louis lawyer and guidance counselor, met his wife at the University of Chicago and moved to New York City in 1992, so she could attend N.Y.U. law school. He found work running a community development corporation and then the Pratt Center for Community Development, both in Brooklyn.

After Mr. Lander announced he would run for mayor, he began tacking toward the center, renouncing the defund the police movement he had once supported and giving a pro-growth speech at a prominent civic association.

The speech won the respect of Dan Doctoroff, a former deputy mayor under Michael R. Bloomberg and a driving force behind New York City’s economic development. “The most important thing is he’s adopted my vision of the pro-growth cycle,” Mr. Doctoroff said of Mr. Lander.

It was a strategy seemingly predicated on the idea that moderates seeking competent governance would coalesce with left-leaning voters behind Mr. Lander.

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He has cast himself as a liberal with managerial chops, and a housing expert who promises to end the mental health crisis on city streets and to build apartments on public golf courses. But the left seems more enamored of Mr. Mamdani these days.

In this city of shifting political loyalties, the pendulum may still swing in unexpected ways.

At this point in 2021, Ms. Garcia, who was running on her managerial competence, was a political afterthought. Then she surged forward, winning the endorsements of The New York Times and The Daily News.

Many voters still “want someone who is going to be a good manager,” said Basil Smikle, a Democratic strategist who formerly led the state party. He added that voters were also looking for someone who could stand up to Mr. Trump.

“Brad Lander has a chance if he can make the case that he can do all of those things,” Mr. Smikle said.

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New York

Essential New York City Movies Picked by Ira Sachs and Blondie’s Debbie Harry and Chris Stein

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Essential New York City Movies Picked by Ira Sachs and Blondie’s Debbie Harry and Chris Stein

Film

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Leo McCarey’s “Make Way for Tomorrow” (1937). The Criterion Collection

‘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. 

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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.” 

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Tippy Walker (left) and Merrie Spaeth in George Roy Hill’s “The World of Henry Orient” (1964). United Artists/Photofest

‘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.

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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. 

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Rip Torn (left) in Milton Moses Ginsberg’s “Coming Apart” (1969). Courtesy of the Everett Collection

‘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. 

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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. 

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Don Murray and Diahn Williams in Ivan Nagy’s “Deadly Hero” (1975). Courtesy of the Everett Collection

‘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. 

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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.

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Chantal Akerman’s “News From Home” (1976). Collections Cinematek © Fondation Chantal Akerman

‘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. 

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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.”

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Michael Wadleigh’s “Wolfen” (1981). Orion/Courtesy of the Everett Collection

‘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. 

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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.

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Seret Scott in Kathleen Collins’s “Losing Ground” (1982).

‘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.

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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.”

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Griffin Dunne in Martin Scorsese’s “After Hours” (1985). Mary Evans/Ronald Grant/Everett Collection

‘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. 

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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. 

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A scene from Edo Bertoglio’s “Downtown 81” (1980-81/2000). Courtesy of Metrograph Pictures

‘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. 

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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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13 Actors You Should Never Miss on the New York Stage

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13 Actors You Should Never Miss on the New York Stage

Theater

Quincy Tyler Bernstine

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Sara Krulwich/The New York Times

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.

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Victoria Clark

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Sara Krulwich/The New York Times

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

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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

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Sara Krulwich/The New York Times

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.

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William Jackson Harper

Sara Krulwich/The New York Times

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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

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Sara Krulwich/The New York Times

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.

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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.

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Judy Kuhn

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Sara Krulwich/The New York Times

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

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Sara Krulwich/The New York Times

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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

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Sara Krulwich/The New York Times

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.

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Conrad Ricamora

Sara Krulwich/The New York Times

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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

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Sara Krulwich/The New York Times

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.

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Michael Patrick Thornton

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Sara Krulwich/The New York Times

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 a Geologist Lives on $200,000 in Bushwick, Brooklyn

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How a Geologist Lives on 0,000 in Bushwick, Brooklyn

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?

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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.

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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.

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Daniel Babin lives in a cohousing space modeled on the ethos of Burning Man, the annual arts festival in Nevada.

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“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.

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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.

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“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.

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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.

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“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.

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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.

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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.”

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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.”

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We are talking to New Yorkers about how they spend, splurge and save.

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