New York
Can Faster Buses Really Be Free?
On a rough day, a bus ride in New York starts like this:
Then there are the traffic jams …
the mistimed stop lights …
the bunched-up buses …
and the cars blocking the bus lane.
Zohran Mamdani has made this grim experience central to his pledge to improve city life. Can his bus plan actually do that?
Some of the slowest buses in America plod through New York, stopping and starting, bunching and idling, at about eight miles per hour on average. Speeds have improved little over the past decade. The least reliable buses seldom show up on time.
Zohran Mamdani has built a strikingly successful mayoral campaign by tapping frustration with this system and marrying it to his broader campaign pledge to make New York more affordable.
“Fast and free buses,” he has promised, the two goals always locked together.
Get rid of fares, in theory, and that should speed things up, ending the backlog of riders lined up at every stop. More bus lanes and better infrastructure could bolster those gains. And making buses free would be a boon, Mr. Mamdani argues, for New Yorkers who have said in surveys that they’ve often struggled to come up with fare money.
“Today in the wealthiest city in the wealthiest country in the history of the world, one in five New Yorkers cannot afford the bus fare,” Mr. Mamdani said, defending his plan in the campaign’s final debate last week. Give people back that money, and more of their time, he suggests, and the economic benefits for the city would outweigh even the cost of a fare-free program he estimates could run $700 million a year.
Critics, and even some transit advocates, warn that his two goals are in tension: Spend such vast sums subsidizing the bus, and there won’t be much left over to improve it, especially at a time when the federal government is undercutting support for transit and the economy is shaky. Under any reasonable estimate, the annual cost to the city of making buses free would be more than transit officials expect to raise this year from congestion pricing, the Manhattan tolling program in the middle of its own political fight.
Whether fast buses and free ones can really go together depends on many questions, some beyond a mayor’s control, including whether Gov. Kathy Hochul would cooperate on higher taxes to raise revenue. Even if Mr. Mamdani were able to eliminate fares, what effect would it really have? And would it be enough to change the slog of riding a bus in the city?
Free and maybe faster
To understand the ambition of Mr. Mamdani’s plan, it’s helpful to first take in the vastness of New York’s bus network. It’s at a whole other scale from the subway system (and from any city currently running free buses):
Mr. Mamdani, who is the front-runner in the Nov. 4 general election, first championed the idea of free buses by pushing for a one-year pilot that made a single route in each borough free for one year starting in September 2023. Expanding the idea citywide would cover 340 routes that carry about 1.5 million paid trips per weekday.
Those rides represent a lot of money that the Metropolitan Transportation Authority, which runs the bus and subway systems, would no longer be collecting at the fare box. The fare today is $2.90, set to rise to $3 in January (although the actual fare collected per paying rider is more like $1.90, after accounting for free transfers and discounted fare cards). If the city were to pay for this instead, the total cost would depend on ridership numbers.
The M.T.A. says the cost of a free-fare program is probably higher than Mr. Mamdani’s estimate. As the authority cracks down on fare evasion, and ridership and fares increase, it projects that by 2028 the annual bus fare revenue, including paratransit, could exceed $1 billion — much higher than the campaign’s numbers.
About a quarter of bus riders also transfer to the subway. And if they haven’t paid for the first leg of the trip, the M.T.A. fears that more passengers may be inclined to skip the train fare, too.
John J. McCarthy, chief of policy and external relations at the M.T.A., said in a statement that the authority was pleased with the attention that transit has gotten in the mayoral race, but also expressed caution about making the buses free without more study.
“Why is congestion pricing successful? Because we took the time to study its benefits and impacts,” he said about the yearslong review for the toll program. “This proposal would demand the same kind of rigorous analysis.”
Still, the Mamdani campaign says the overall cost is relatively small — less than 1 percent of the city’s annual budget. But for the M.T.A., fare revenue covers about 19 percent of its $4.8 billion bus operating budget.
Mr. Mamdani suggests that the economic benefits of free fares could be twice as large as the costs. That’s hard to evaluate (the figure includes assigning a dollar value to the time you’d save by spending less of it stuck on the bus). His other claim is that eliminating the fare would itself speed up the buses.
That is theoretically true. All those seconds it can take each passenger to root around in a pocket, count out change or fuss with the card reader — at every stop — add up to real delays. And just one rider doing this can be the difference between making and missing a green light.
But New York’s own pilot program illustrates one hitch. Across all five free routes, ridership increased during the pilot by about 30 to 40 percent, mostly driven by existing riders taking more trips. The buses, however, actually slowed, because all those new riders still had to board the bus and request stops, offsetting the time savings from getting rid of fares.
That’s another complication: If ridership rises substantially, you have to add service to keep up with it, or you may not see any speed benefits. And that costs money, too.
Mr. Mamdani cites an estimate that free buses could shave 12 percent off trip times. The number comes from Charles Komanoff, a longtime transit advocate and mathematician whose traffic modeling helped inform congestion pricing. He first tried to assess the impact of free buses in 2007, as part of a study of whether congestion pricing could generate enough revenue to make transit free.
“That idea of free transit — it was visionary, it was lovely, it was beguiling,” Mr. Komanoff recalled recently. Politically at the time, though, “it was completely impractical.”
He put down the idea for nearly two decades. Then last December, he heard Mr. Mamdani, polling at the time in single digits, talk about free buses at a mayoral transit forum.
In April, Mr. Komanoff published a new report that is the closest thing to a white paper for the Mamdani campaign on the topic. His 12 percent time savings relies on some of his 2007-era data (bus riders then dipped a card instead of tapping it). This fall, he reran his analysis again, after riding the B41 bus in Brooklyn with The New York Times to collect new data. He estimates that ending fares could cut 7 percent off a trip on the route, assuming the ridership stays constant. That would still be, he said, “a triumph” — an improvement akin to what drivers have seen inside Manhattan’s congestion zone.
Faster but not free
The B41 bus, connecting the Flatbush commercial corridor to Downtown Brooklyn, is one of the busiest routes in the city. The comptroller’s office gives it a D grade for its poor on-time performance and high rate of “bunching” — when buses arrive too close together and disrupt scheduling. On the route’s slowest stretch, speeds dip below four m.p.h.
Flatbush Avenue is, in short, a prime target for redesign and better bus service — something the New York City Department of Transportation has already begun to work on. And it’s a prominent example of how buses could be made faster without killing the fare box.
We rode the corridor, timed how long it takes riders to board the bus, counted all the intersections, and worked with the transportation planner Annie Weinstock to analyze the route. A trip in the evening rush hour covering the Flatbush portion of the B41 takes 58 minutes on average. But if the bus were traveling the corridor totally unimpeded, it would need only 16 minutes to go from end to end. Everything else is a form of delay: The bus spends more time sitting at red lights, and almost as much time sitting in traffic:
Making the B41 substantially faster would require a series of changes:
Mr. Mamdani has voiced support for infrastructure initiatives like this, although the campaign’s estimated cost for the free-fare program doesn’t include the sizable expenses needed to do such projects in tandem. Transit advocates are also pushing the city to go further, leveraging an array of “bus rapid transit” improvements that would also enable riders to enter from all bus doors and to pay for the bus at sidewalk kiosks, while revamping more intersection signals to prioritize buses.
All-door boarding and off-board payment would logistically have the same effect as free fares, cutting the time it takes passengers to board. We asked Ms. Weinstock, who has studied how to implement faster buses in New York, to estimate how much all of these changes together would speed up the B41.
In an ideal world, all these investments could cut about 40 percent off the time of a B41 trip — far more than doing free fares alone. It certainly helps to speed up the process of boarding riders. But that’s not the thing that helps the most. And there are other ways to get those same savings while still collecting fares.
Of course, free fares are about financial savings for riders as much as time savings. But there are some other, less sweeping ways to do that, too.
About 375,000 low-income riders already pay half-cost fares under the Fair Fares program funded by the city. It subsidizes fares on the bus and subway for households making less than 145 percent of the federal poverty level.
But advocates want to push the threshold up to 200 percent — or even 300 percent, where a family of four earning as much as $96,500 a year would qualify.
“We think it would be much less costly than a totally free system,” said David R. Jones, president of the Community Service Society, which has pushed for Fair Fares. He’s also a member of the M.T.A. board.
Mr. Mamdani supports expanding Fair Fares for the subway, alongside free buses. Doing both would further drive up the total cost of his transit agenda.
Former Gov. Andrew M. Cuomo, who is polling behind Mr. Mamdani in the mayoral race, has said he would make the subway and buses free for New Yorkers making up to 150 percent of the federal poverty line, or about $48,000 for a family of four.
Free for some, faster for more
The allure of free buses is partly that many of these other interventions are harder. Roads must be ripped up and redesigned. Neighbors will complain. Infrastructure projects take years (the redesign of a roughly one-mile stretch of Flatbush Avenue is scheduled to be done next year). Even scaling up Fair Fares would require the city to do more to reach people who qualify — today only about a third of residents who do are in the program.
But you can declare the bus to be free tomorrow, and it will be free tomorrow. It’s a shortcut to improving an aspect of city life where nearly all other answers are slow and hard.
“It’s a guarantee that your life will be better in a way that you can feel every single day,” said Michelle Wu, the mayor of Boston and someone Mr. Mamdani has often cited.
In Boston, the city pays to offset the fares on three high-ridership bus routes that serve lower-income neighborhoods (ridership is up, travel times about the same). That’s the kind of partial measure Mr. Mamdani could pursue: a larger pilot, a targeted set of routes, perhaps while expanding Fair Fares to aid more riders citywide. Maybe that buys patience for the harder improvements.
His campaign insists that the universality of free fares is the point. It’s what gives working-class riders access to the whole city. It’s what could unlock faster speeds for everyone.
But there’s evidence that New Yorkers might like the spirit of the pitch more than the potential reality of it. A recent New York Times/Siena polling experiment of two groups of likely voters showed 56 percent supported making the buses free, even as 57 percent said the city “should not do this.”
To voters, the value of Mr. Mamdani’s promise may largely be in the signal it sends: that he sees New Yorkers struggling on the bus and wants to make things better with big ideas. And that whether or not he really turns off all the card readers, surely he’ll do something to help your wallet, and to fix the buses.
Brad Lander, the city comptroller and an ally of Mr. Mamdani who also ran for mayor in the primary, suggested “fast and free” has a logic to it that’s not necessarily literal. Yes, you need resources to make the buses faster, he allowed, but you also need political will. And Mr. Mamdani is building it in a way that might not have worked had he promised “fast buses” alone.
“If you had had someone say, ‘Well, what if we make the bus a dollar cheaper than the subway, but also produce 20 interborough bus rapid transit lanes, and do all-door boarding to help everyone!’ — those might have been really good ideas,” Mr. Lander said, poking fun at his own policy-dense campaign.
“But they didn’t sufficiently capture the imagination of New Yorkers.”
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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