New York
NYC’s Queensboro Bridge Pedestrian Path Was Ready. Until it Wasn’t.

The plan was to transform two of New York City’s busiest crossings for cars into “Bridges for the People,” an idea that Bill de Blasio, the mayor at the time, said would help New Yorkers exit “the era of fossil fuels.”
He promised to remove one vehicle lane apiece from the Brooklyn and Queensboro Bridges to accommodate a pandemic-spurred boom in walking and cycling, a sign of just how far the city had moved away from the car culture that has long dominated its streets.
Four years later, only the Brooklyn Bridge is friendlier to pedestrians. The Queensboro Bridge remains the only city-owned East River bridge without separate paths for pedestrians and cyclists, jamming them instead into a single, overcrowded lane.
Last week, there was hope that the Queensboro Bridge’s time had finally come. City transportation officials were poised to hit send on a news release announcing the opening of a new pedestrian path on the bridge’s southern flank, according to several people familiar with the plan.
The release, which The New York Times obtained, was headlined, “Bridges for People,” and said the project would be “the first bike and pedestrian upgrades to the bridge” since 1979, when the existing walking and bike path was carved from the outer northbound roadway.
City transportation officials even went so far as to invite Councilwoman Julie Won of Queens to a ribbon-cutting ceremony on Sunday, March 16. Assemblyman Zohran Mamdani of Queens provided a quote for the news release.
But then the mayor’s office scuttled the plan, to the dismay and frustration of the project’s supporters.
Although a city official said the event had been added to City Hall’s internal event-tracker in late February, Kayla Mamelak Altus, a spokeswoman for Mayor Eric Adams, said city transportation officials had failed to brief him and his aides about the project before proceeding. She said the mayor’s office had requested data so it can assess how the project may affect traffic in Manhattan and Queens.
She said that “nothing has been delayed, and the mayor and City Hall must be provided a full briefing on how the agency plans to roll this out smoothly and ensure New Yorkers can continue to get to where they need to go efficiently.”
The Brooklyn Bridge was reconfigured in September 2021, before Mr. de Blasio’s term ended. The Queensboro Bridge, however, was undergoing rehabilitation, and Mr. Adams, who has described himself as a cyclist, inherited the project. (Mr. de Blasio did not respond to a request for comment.)
In recent decades, New York City has increasingly carved out room for pedestrians and cyclists on its streets. In December, the Transportation Department celebrated an “all-time high” for bike ridership across the four East River bridges. At the same time, the department committed to doubling cycling and pedestrian space on the Queensboro Bridge in 2025.
Mr. Adams, a self-described working class mayor, has been criticized by transportation advocates for not doing enough for city residents who do not commute by car, which is most of them. His office watered down plans to improve bus speeds along Fordham Road in the Bronx, the busiest bus route in the poorest borough. City officials also scaled back efforts to make McGuinness Boulevard in Brooklyn friendlier to cyclists.
And though it built nearly 90 miles of protected bike lanes in the past three years, an improvement on the de Blasio administration’s final years, the Adams administration has failed to meet the ambitious bus- and bike-lane requirements in the city’s “Streets Plan” law — requirements the transportation commissioner recently told the City Council were “not realistic.”
With Mr. Adams’s poll numbers in the tank and the Democratic primary for mayor just three months away, critics have wondered whether the mayor might be trying to quash a project that could draw the ire of drivers and possibly also President Trump, who disdains bike lanes and with whom Mr. Adams has developed a mutually beneficial relationship.
“LOL! What a ridiculous reach by your unnamed ‘critics,’” Ms. Mamelak Altus said in an email.
Mr. Mamdani, who is running to unseat Mr. Adams, said the repeated delays in opening the Queensboro Bridge path were infuriating.
“This administration time and again has politicized basic street safety projects, intervening at the last minute and putting New Yorkers at risk for completely arbitrary political decisions,” he said.
The back-and-forth over the Queensboro Bridge path also suggests a heightened level of disorganization within a City Hall that has experienced substantial turnover since half of Mr. Adams’s deputy mayors resigned in February.
The bridge, which was completed in 1909, once carried trolleys alongside cars. The crossing is now used by 170,000 vehicles a day, officials said.
A growing number of cyclists and pedestrians must squeeze onto the 11-foot-wide lane on the bridge’s outer northbound roadway. More than 7,100 cyclists and 2,700 pedestrians use the path every day.
There have been 19 crashes reported on the shared path since 2022, according to city officials. On the Manhattan Bridge, which has distinct pedestrian and cycling lanes, there were 14 in the same period. The city did not provide similar statistics for the two other East River bridges.
In October, Daniel Bach, a lawyer, was jogging over the Queensboro Bridge when he was hit by a scooter. He ended up in intensive care with fractured eye sockets and a broken nose.
“Bottom line, clearly, cyclists and scooters should be on the other side of the Queensboro Bridge and not sharing that little path with the runners,” said Mr. Bach, 62, who lives in Long Island City, Queens.
Ms. Won said city officials had contacted her office on March 10 to invite her to the ribbon-cutting six days later. They told members of her staff that a news release would be issued on March 12.
But four days after the initial contact, city officials told Ms. Won’s office that the ribbon-cutting would not happen, she said. The delay was first reported by the transportation-focused website Streetsblog.
At a City Council hearing this week, Ms. Won pressed Transportation Department officials about the status of the Queensboro Bridge project.
“We were told by D.O.T. that the construction was complete,” Ms. Won said. “So did they misspeak?”
In response, a transportation official disputed that characterization but could not provide a precise timeline for when it would be finished.
“It will happen this year,” said Ydanis Rodriguez, the transportation commissioner. “Very soon.”
On a recent afternoon, the new walkway beckoned from behind a fence, while on the existing walkway, a skateboarder weaving around a stream of pedestrians clipped one.
Corey Zeigler, a cyclist, longs for more space on the bridge. Not long ago, Mr. Ziegler, a 32-year-old construction worker, crashed on the Queens end of the bridge and nearly lost his left ear.
An Astoria native, he has watched the area’s skyline become crowded with high-rise apartment buildings. That has made the neighborhood, and the shared pedestrian and bike path on the Queensboro Bridge, “10 times more crowded and dangerous” than it was a decade ago, he said.
“What is the reason for it being held up?” he asked. “If it’s political, we shouldn’t stand for it.”
Nate Schweber contributed reporting.

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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