New York
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.
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?
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.”
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.
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.”
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.”
“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.
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.

New York
Read the Ruling on the Judgment Against Trump in the E. Jean Carroll Case

Case: 24-644, 09/08/2025, DktEntry: 134.1, Page 28 of 70
statements at issue in this case were made three years earlier than the statement
in Carroll II, the statements were identical in material respects because both
accused Carroll of fabricating the sexual assault allegations for improper
purposes. Compare supra pp. 6-8 (June 2019 statements), with supra pp. 13-14 (October 2022 statement). 14
The truth or falsity of Trump’s statements in both 2019 and 2022
turned on whether Carroll was lying, that is, whether Trump sexually assaulted Carroll in 1996, irrespective of the specific sexual act committed. 15 The jury in
14
–
For example, in the 2022 statement which the Carroll II jury determined to be false — Trump stated, among other things: “I have no idea who [E. Jean Carroll] is.” Carroll, 690 F. Supp. 3d at 401. In the June 21, 2019 statement at issue here, Trump said: “I’ve never met this person in my life.” App’x at 1887. Moreover, in the 2022 statement, Trump said: “She completely made up a story that I met her . . . and, within minutes, ‘swooned’ her. It is a Hoax and a lie,” “it never happened,” and “for the record, E. Jean Carroll is not telling the truth, is a woman who I had nothing to do with, didn’t know, and would have no interest in knowing her if I ever had the chance.” Supp. App’x at 108. In the June 21, 2019 statement, Trump said: “Shame on those who make up false stories of assault to try to get publicity for themselves,” “I would like to thank Bergdorf Goodman for confirming that they have no video footage of any such incident, because it never happened,” and “[f]alse accusations diminish the severity of real assault.” App’x at 1887.
15
In other words, the application of issue preclusion to the falsity element is proper because Trump’s 2019 and 2022 statements did not turn on the specific sexual act he committed. He did not deny, for example, digital penetration specifically. In all statements, he denied any sexual assault, full stop. The Carroll II jury found Trump’s 2022 statement to be false because it found that he sexually abused Carroll. See Tannerite Sports, LLC v. NBCUniversal News Grp., a division of NBCUniversal Media, LLC, 864 F.3d 236, 242 (2d Cir. 2017) (Under New York law, “to satisfy the falsity element of a
28
New York
13 Off Broadway Shows to See in September

‘The Wild Duck’
Henrik Ibsen’s searing dissections of bourgeois hypocrisies appear to be in sync with our angry times. The Norwegian playwright is even getting high-profile movie adaptations, with the Tessa Thompson-starring “Hedda” dropping in October. In New York, Simon Godwin’s production of this semi-obscure effort from 1884, about a family’s secrets coming to light, follows recent revivals of “An Enemy of the People,” “A Doll’s House” and “Ghosts.” (Through Sept. 28, Theater for a New Audience)
‘Mexodus’
In their hip-hop musical, Nygel D. Robinson and Brian Quijada portray an enslaved man and the sharecropper-turned-soldier he meets at the Rio Grande. The story looks at a different kind of Underground Railroad while also connecting to our current turbulence with an era-transcending message of solidarity. David Mendizábal directs the two-man show, which is part of Audible Theater’s series. (Sept. 9-Oct. 11, Minetta Lane Theater)
The Small Rooms Where It Happens
Grier Mathiot and Billy McEntee’s lovely “The Voices in Your Head” was staged for about 20 people at a time in a storefront church last year. McEntee’s “Slanted Floors” goes even smaller: The actors Kyle Beltran and Adam Chanler-Berat portray a couple living out their domesticity under the watch of five audience members in a Brooklyn apartment. (Sept. 9-Oct. 10, Slanted Floors Play).
A collaboration between Hansol Jung (“Wolf Play”) and the collective The Pack, co-directed by Jung and Dustin Wills, “Last Call, a Play with Cocktails” takes place in various New York City apartments, so the audience size varies depending on where the show lands on any given day. One constant: There will be drinks. (Sept. 19-Oct. 13, En Garde Arts)
‘Family’
Alec Duffy’s original staging of “Family,” an early work by the playwright-turned-filmmaker Celine Song, took place in a Brooklyn apartment for audiences of about 30. The production — outré, operatically gothic, near-feral at times — is returning for an encore run, but in a more traditional theatrical space. Let’s see how Duffy recalibrates the show. (Sept. 12-28, La MaMa)
‘The Essentialisn’t’
“Can you be Black and not perform?” Such is the question driving Eisa Davis’s new piece, in which she leads a cast of four. A Pulitzer Prize finalist for her haunting play “Bulrusher” and the co-creator of the concept album “Warriors” with Lin-Manuel Miranda, Davis remains a frustratingly underrecognized writer and performer with a lyrical, fiercely poetic voice all her own. Here is an opportunity to watch her confront and subvert the expectations placed on Black artists. (Sept. 10-28; Here Arts Center)
‘The Other Americans’
John Leguizamo’s stage career is paved with solo shows, sometimes autobiographical, in which he brings to life a gallery of characters. At first glance it looks as if his latest piece might be more of the same since it involves a Colombian American New Yorker, like the writer-performer himself. But while Leguizamo does play that central character, Nelson, he is far from alone onstage: “The Other Americans,” directed by Ruben Santiago-Hudson, is a family drama with an actual cast — it’ll be exciting to watch Leguizamo jostle with costars. (Sept. 11-Oct. 19, Public Theater)
‘Caroline’
Chloë Grace Moretz was only 17 when she starred in Scott Z. Burns’s “The Library” at the Public Theater, in 2014, but her screen career was already buzzing. Still, few expected that it would take over a decade for Moretz to return to the New York stage. At long last here she is again, under the direction of the ever-reliable David Cromer (whose recent credits include “Dead Outlaw” and “Good Night, and Good Luck”). The three characters in Preston Max Allen’s new play are all members of one family, with Moretz in the middle as the daughter of the character played by Amy Landecker (“Transparent”) and the mother of young Caroline (River Lipe-Smith). (Sept. 12-Oct. 19, MCC Theater)
‘Are the Bennet Girls OK?’
After its successful country musical “Music City” last year, the Bedlam company returns to one of its foundational authors: Jane Austen (Kate Hamill’s adaptation of “Sense and Sensibility” was an early Bedlam hit in 2014). Now Emily Breeze’s new take on “Pride and Prejudice” looks like it’s going to have fun with the Regency superstar’s best-seller: “I haven’t reread the source material since I skimmed it in high school,” Breeze claims. (Sept. 14-Oct. 19, West End Theater)
‘When the Hurlyburly’s Done’
After dedicating a decade to his “Rhinebeck Panorama” project, which includes the Apple, Gabriel and Michael family cycles, the writer-director Richard Nelson set out for war-torn Kyiv to work with the local Theater on Podil on a staging of his 2008 play “Conversations in Tusculum.” So inspired was he by the experience that he wrote the company this piece, about Ukrainian actors performing “Macbeth” in 1920. The resulting production (in Ukrainian with English supertitles) settles at Nelson’s frequent artistic home, the Public Theater, for a short run. (Sept. 16-21, Public Theater)
‘Weather Girl’
These days weather reporters like Stacey (Julia McDermott) are called upon to deliver apocalyptic accounts of a world either drowning in floods or bursting into flames along with their forecasts. Written by Brian Watkins (the creator of the time-travel Western series “Outer Range”), this solo play straddles satire and warning. (Sept. 16-Oct. 12, St. Ann’s Warehouse)
‘And Then We Were No More’
The most intriguing pairing this month may well be that of Elizabeth Marvel and Tim Blake Nelson. They are not onstage together, though: Marvel stars in this new play by Nelson, who somehow finds time to write (he also has a novel, “Superhero,” coming out in December) in between gigs as an ur-character actor (next up: the film “Bang Bang” and the series “The Lowdown”). Marvel plays a lawyer in a near-future society where the justice system is even more out of whack than our current one. (Sept. 19-Nov. 2, La MaMa)
‘Torera’
The title character of Monet Hurst-Mendoza’s play is a young Mexican woman, portrayed by Jacqueline Guillén, who yearns to make a space for herself in bullfighting — which the WP Theater’s site noncommittally refers to as “a controversial practice that we neither condemn nor condone.” Tatiana Pandiani choreographs and directs. (Sept. 20-Oct. 19, WP Theater)
‘Crooked Cross’
Sally Carson’s play premiered in Britain in 1935 and takes place just a couple of years earlier, in Germany — you can guess what the title refers to. The show, based on Carson’s own novel, presciently tracks the rise of Nazism through the prism of a divided Bavarian family. (Sept. 20-Nov. 1, Mint Theater)
‘All Right. Good Night.’
N.Y.U. Skirball plays a vital role in the New York cultural ecosystem by programming radical theatermakers from around the world, albeit for blink-and-you’ll-miss-them runs. Such is the case with this piece by the experimental German company Rimini Protokoll (“Remote New York”) in which Helgard Haug intertwines the disappearance of a Malaysia Airlines flight in 2014 with her father’s slide into dementia. Bonus: a live score by the exquisite Berlin-based musician Barbara Morgenstern and Zafraan Ensemble. (Sept. 25-27, N.Y.U. Skirball)
New York
Take a Closer Look at These ‘Great’ New York City Trees

Species Magnolia grandiflora
In 1968, this magnolia tree, then over 40 feet tall, was supposed to be cut down to make way for an apartment complex. Hattie Carthan jumped into action. Ms. Carthan, an environmentalist and activist in the Black community, moved to Brooklyn in 1928 and had a deep love for trees. In 1966, she founded the Bedford-Stuyvesant Beautification Committee, which planted more than 1,500 trees and also taught youth groups about caring for them — not a popular mission at the time. “When I first suggested that we buy trees, I almost got thrown out of the block association,” Ms. Carthan told The New York Times in 1975. “They said, ‘Oh, trees make leaves and you have to sweep.’”
Ms. Carthan was so determined to save the magnolia on Lafayette Avenue, which was estimated to have been planted in about 1885, that she campaigned for it to be designated by the city’s Landmarks Preservation Commission as a living landmark — and won. Today it is the sole remaining landmark tree in New York City.
In 1972, Ms. Carthan created the Magnolia Tree Earth Center, which, despite her death in 1984, continues to educate young people about environmental issues. The center is facing financial hardship, but there is hope that it will be revitalized, said Wayne Devonish, the chairman of its board. “We need to embrace all that it represents in terms of being like a little urban oasis, smack dab in central Brooklyn,” he said. “If we show the tree, and the center, love, hopefully there’s another good 100 — or 200 — years.”
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