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In the Halls of Power, Trump’s Demands Force Agonizing Choices

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In the Halls of Power, Trump’s Demands Force Agonizing Choices

An Ivy League university. Distinguished law firms with Fortune 500 clients. The highest levels of government in the nation’s largest city.

As President Trump seeks to extract concessions from elite institutions and punish his perceived enemies, some of New York’s most powerful people are suddenly confronting excruciating decisions.

The hard choices they face seem almost to be pulled from the pages of a college ethics textbook: Fight back and put your institution and even your livelihood in jeopardy? Or yield and risk compromising foundational values and ideals?

Some have sued, or walked away from their jobs. Others have cut deals with the Trump administration, and faced ferocious criticism for what many see as capitulation.

Mr. Trump has sought financial agreements, fealty pledges and other concessions from all across the United States, and even from other countries. But his former hometown, New York City, is a prime target: It is a capital of industrial and cultural institutions — and of the elite liberal establishment that his presidency pits itself against.

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The deal-cutting has come as a shock to some leaders.

“I have been surprised at the rush at times to assuage the White House from activity that has gone on from people who I just thought would display more courage,” said David Paterson, a former Democratic governor of New York.

But the choices can be agonizing.

“It becomes a challenge for them to speak out against something they know is wrong,” said Chris Dietrich, chair of the history department at Fordham University. “If they stick their head above the parapet, they feel they could be putting a number of other people at risk.”

He compared the current moment to the McCarthy era, when many stayed silent as Joseph McCarthy, the Red-baiting senator falsely accused citizens of being Communists.

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Last week, sold-out Broadway crowds were leaping to their feet to cheer the actor George Clooney after his rousing performance as Edward R. Murrow, the 1950s-era broadcast journalist. Mr. Murrow famously stood up to Mr. McCarthy.

Just a couple blocks away in Midtown, Brad Karp, the chairman of the top-tier law firm Paul Weiss, was writing a memo to his employees explaining why he had reached a deal with Mr. Trump to do $40 million in pro bono work for causes the White House supports.

Mr. Trump, in an executive order, had threatened to suspend the law firm’s security clearances and bar its lawyers from federal buildings, which would have severely restricted its ability to represent clients in some cases involving the federal government.

Three other elite law firms Mr. Trump threatened — Jenner & Block, WilmerHale and Perkins Coie — have fought back by suing the administration. But Mr. Karp argued that in being targeted by Mr. Trump for its ties to the president’s political and legal enemies, the firm faced an “unprecedented threat” and an “existential crisis.” He wrote that he had learned “other firms were seeking to exploit our vulnerabilities by aggressively soliciting our clients and recruiting our attorneys.”

On Friday, another top New York law firm, Skadden, Arps, Slate, Meagher & Flom, agreed to provide $100 million in pro bono work on issues Mr. Trump supports in an effort to avoid its own punishing executive order.

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Earlier this month, Rachel Cohen, a Skadden associate, submitted her notice of resignation after putting together an open letter that was signed anonymously by others from numerous firms in hopes of pressuring their own employers to speak out.

And in response to the actions at Paul Weiss, about 140 alumni of the law firm signed a letter to its chairman, calling the decision to settle “cowardly.”

“It is a permanent stain on the face of a great firm that sought to gain a profit by forfeiting its soul,” the lawyers wrote in the letter.

The firms’ willingness to make deals followed a move by Columbia University, which in the face of being threatened with losing $400 million in federal funding, announced plans to overhaul its protest policies and security practices and make other changes in line with the Trump administration’s demands.

On Friday, a week after the plans were announced, the university’s interim president, Katrina Armstrong, resigned and was replaced by Claire Shipman, a co-chair of the school’s board of trustees.

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Some have welcomed the changes Columbia announced, which were already in progress before Mr. Trump’s demands as part of an effort to combat antisemitism. And Samantha Slater, a Columbia spokeswoman, defended the concessions to the White House.

“We will always uphold the university’s mission and values,” she said.

But the deal incited faculty protests and a lawsuit by faculty groups against the Trump administration saying that the planned cuts “represent an existential ‘gun to the head’ for a university,” according to the complaint.

Former Mayor Bill de Blasio, a Democrat, said institutions like Columbia and major law firms, which he called “pillars of America,” should be role models for resistance.

“When an institution fights back, it makes it easier for everyone else to fight back,” he said. “Giant law firms and a highly endowed Ivy League university — they’re going to be here long after Donald Trump. They have the resources to sustain a fight. If you give in on this one, there will be something else.”

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New York has a long history of resisting presidents whose policies or actions were viewed as politically unfavorable or damaging to the city: Mr. Murrow called out Dwight D. Eisenhower’s tolerance of McCarthyism; Martin Luther King Jr. led huge protests against Lyndon B. Johnson’s support for the Vietnam War; and Gerald Ford’s refusal to bail out the city during a fiscal crisis in 1975 likely cost him re-election.

But today, some of the city’s strongest pillars are quivering.

“Now,” said Mark Levine, a Democratic candidate for city comptroller, “we’re the center of appeasement.”

The city has been a reliable Democratic stronghold for decades, so much so that some New Yorkers were shocked by Mr. Trump’s electoral gains in November’s presidential election compared with his performance in 2020.

But it’s also a city where adoration of capitalism gave rise to Wall Street billionaires and real estate scions like Mr. Trump himself. Now, some of the city’s leaders and thinkers are wondering whether the responses to Mr. Trump expose more of New York’s true identity.

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“We are a city of rollovers, institutionalists who don’t want to rock the boat,” said Richard Flanagan, a political science professor at the College of Staten Island. “Deals before principles. A capitalist city before a progressive one.”

All the backing down has made the Rev. Al Sharpton question whether New York is as tough as he thought it was.

“You never know how strong you are until you’re tested,” he said, noting that civil rights protesters have learned that upholding values often comes at a steep cost. “If people really believed in what they stood for they wouldn’t capitulate. It makes me wonder if they ever believed in the first place.”

But while Mr. Trump’s detractors call him a bully, his supporters say his actions are nothing more than deal-making — that making demands and exerting leverage are the way things get done.

And Mr. Trump has gloated over his wins.

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“You see what we’re doing with the colleges, and they’re all bending and saying: ‘Sir, thank you very much. We appreciate it,’” he said on Wednesday. “Nobody can believe it, including law firms that have been so horrible, law firms that, nobody would believe this, just saying: ‘Where do I sign? Where do I sign?’”

Perhaps no one has brought the ethical dilemmas engendered by Mr. Trump’s deals and demands into sharper relief than Mayor Eric Adams.

Facing corruption-related charges, Mr. Adams, a Democrat, sought to cozy up to Mr. Trump even before the election in what was widely criticized as an attempt to make his criminal case go away.

But when those efforts appeared to pay off, and a Trump appointee at the Justice Department sought to abandon the case against Mr. Adams, prosecutors and city officials found themselves confronted with a difficult decision.

Rather than cut bait on the case, the interim U.S. attorney, Danielle R. Sassoon, resigned, as did the case’s lead attorney, Hagan Scotten.

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Mr. Scotten, who served three combat tours in Iraq as a U.S. Army Special Forces officer and earned two bronze stars, said in a resignation letter that only a fool or a coward would obey the order.

Ms. Sassoon, in her resignation letter, indicated that she believed Mr. Adams and the Trump administration were engaging in essentially a quid pro quo, with the mayor agreeing to help cooperate on the president’s immigration agenda in exchange for the dropped charges.

Concerns about the mayor’s indebtedness to the Trump administration led four deputy mayors to make their own difficult choice: Amid the controversy, concerned that Mr. Adams’s personal interests risked outweighing the interests of New Yorkers, they resigned.

The ramifications spread further. In Washington, five Justice Department prosecutors resigned rather than sign the motion to dismiss the case against Mr. Adams.

In the end, a veteran prosecutor, Ed Sullivan, agreed to file the request in order to save more of his colleagues from losing their jobs, according to three people briefed on the interaction. The judge overseeing the mayor’s case is still reviewing the request.

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For some who have chosen to fight Mr. Trump’s demands, much hangs in the balance, and the outcome will not be clear anytime soon.

New York transit officials and Gov. Kathy Hochul have held firm during a standoff with federal officials over the fate of congestion pricing, which seeks to cut traffic and raise money for the Metropolitan Transportation Authority by charging drivers who enter Manhattan’s central business district.

As soon as Sean Duffy, the secretary of the U.S. Department of Transportation, sent a letter ordering the M.T.A. to shut down the program, the authority sued and has so far ignored the administration’s deadlines. And Ms. Hochul has invoked the action movie “Rambo” to suggest that Mr. Trump would pay for drawing “first blood.”

Donovan Richards, the borough president of Queens, where Mr. Trump was born, said officials couldn’t stop resisting a president who went against the values of many New Yorkers.

“We have to fight,” he said. “There is enough room for everybody to win here.”

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Jonah E. Bromwich contributed reporting.

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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Sara Krulwich/The New York Times

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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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