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What to Know About Proposals to Fix the Chaos at Rikers Island

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What to Know About Proposals to Fix the Chaos at Rikers Island

A federal judge overseeing the Rikers Island jail complex in New York City is weighing two distinct proposals on how to fix the city’s troubled and violent lockups.

For nearly a decade, the judge, Laura Taylor Swain, has been monitoring the city’s jails to keep them in compliance with a court order to overhaul Rikers. But conditions at the complex — which now houses about 6,600 people — have continued to deteriorate.

Since 2022, at least 35 people have died either while being held at city jails or shortly after being released from custody, according to city data.

In November, Judge Swain found the city in contempt for failing to stem violence and excessive force at Rikers. She said she was leaning toward stripping control of the city’s jails from Mayor Eric Adams and handing it to an outside authority, known as a receiver. That remedy, the judge said, would “make the management of the use of force and safety aspects of the Rikers Island jails ultimately answerable directly to the court.”

The appointment of a federal receiver is considered a last resort. Judge Swain has refrained from imposing one for years, even as lawyers for Rikers detainees called for a takeover.

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Lawyers representing the inmates and the city each sent Judge Swain plans for how a receivership could work. The proposals, contained in a nearly 1,000-page document, are the culmination of a decade of motions, court hearings and rulings.

The proposals differ dramatically, and Judge Swain has not set a date for deciding whether to follow one of the plans — or one of her own.

Here are the issues in play in a potential takeover of New York City’s jail network.

The city has struggled to control jail violence for decades. The Department of Correction is also the target of lawsuits about the denial of medical care to detainees and the decrepit conditions of the buildings at Rikers Island, which is in the East River near LaGuardia Airport.

The City Council voted to close Rikers and replace it with smaller jails in four of the city’s five boroughs by 2027. But officials have said the city is unlikely to meet that deadline.

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A federal monitor, appointed as a result of the case, has been giving Judge Swain regular updates over the past decade on conditions inside the complex. And nearly every one has sounded the alarm about safety conditions.

In a recent filing to the court, the monitor, Steve J. Martin, wrote that the problems facing the Correction Department were “so deeply entrenched that there is no singular solution that will fix these issues.”

The Legal Aid Society and a private law firm that represents incarcerated people have argued that the court should install a receiver. They have been joined by the federal prosecutor’s office for the Southern District of New York.

They say that the receiver, who would answer only to the court, should have broad power to make changes, including some ability to address union contracts.

Rikers has struggled to overcome a staffing problem for decades, but the issue has not been caused by a shortage of officers. There is roughly one uniformed officer for each detainee housed at Rikers, according to city data, making it among the best-staffed jails in the country.

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A New York Times investigation in 2021 found that guards were often stationed in inefficient ways that failed to protect inmates, and that the system’s unlimited-sick-day policy meant that posts went unguarded and detainees gained control of entire housing areas.

The percentage of officers out sick on any given day dropped to about six in November from a peak of 32 at the start of the pandemic in early 2020.

The plaintiffs’ proposal would let the receiver not only renegotiate union contracts but hire, fire and deploy employees as needed within the bounds of local law. The receiver could also be able to “review, investigate and take disciplinary or other corrective or remedial actions with respect to violations of D.O.C. policies, procedures and protocols” related to the court order, they wrote.

The receiver, who would work alongside the monitor and the Correction Department’s commissioner, would be employed at the pleasure of the court. The receivership would last as long as needed for the city to comply with the terms of the settlement.

“The specific powers afforded to the receiver under our proposal are both justified by this court’s specific findings, and well within the scope of powers that other federal courts have granted to receivers in corrections cases,” the plaintiffs wrote.

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City officials proposed a markedly different plan.

The current commissioner of the Correction Department, Lynelle Maginley-Liddie, should serve in a twofold role, the city said:

  • She should answer to the court on the use of force and safety measures.

  • On everything else related to the administration of the jails, she would answer to the mayor.

The mayor would not be able to remove the commissioner, who would be serving in the new role of “compliance director.”

The city hopes to capitalize on the good will Ms. Maginley-Liddie has garnered since her appointment in 2023. Judge Swain said that the monitoring team had “observed an immediate change in the department’s approach and dynamic” after she took the helm.

The city also argued that its proposal would accomplish the consent decree’s objective while following the “principles of federalism, that the Court’s intrusions into state and local law and governance be kept to the absolute minimum necessary to remedy constitutional violations.”

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To ensure that Ms. Maginley-Liddie would remain shielded from political influence — a point of concern voiced by Judge Swain — the commissioner would have her job guaranteed for five years.

In a key difference from the plaintiffs’ plan, the city’s proposal does not include giving the compliance director broad authority over union contracts, although the director could ask the court to alter them. Such a power cannot “be justified as necessary to correct constitutional violations,” the city said. “Contracts with one municipal union can have a far-reaching impact on the city’s relationships and contract negotiations with other municipal unions.”

Mr. Adams gained favor with the powerful correction officers’ unions early in his tenure: Before taking office, he stood flanked by union representatives and announced that he would reinstate solitary confinement, a policy the union had pushed. And as soon as he took office, he replaced the correction commissioner, as well as the deputy commissioner of the Investigation and Trials Division, with whom the union had sparred.

The city argued that having the commissioner also serve as compliance director would make change happen more quickly. And because Ms. Maginley-Liddie is already a city employee, she would receive only her commissioner salary and benefits.

Ms. Maginley-Liddie is “acutely familiar with the legal and practical workings of city government, and accordingly, is best positioned to more immediately identify and correct any impediments,” the city wrote.

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In New York, a group that includes former Department of Correction workers have filed a letter to Judge Swain warning that the city’s proposal would not result in meaningful changes. Any receiver must exist outside the city’s power structure, said the group, led by Elizabeth Glazer, who ran the mayor’s office of criminal justice under Mayor Bill de Blasio.

“The mayor would continue to be able to assert immense political pressure over the proposed commissioner / compliance director, ensuring that such individual lacked any meaningful independence,” they wrote.

Federal takeovers of jails are rare. There have been only nine in the nation since the late 1970s, according to the federal monitor.

Governments fight to retain control, said Hernandez D. Stroud, a senior fellow at the Brennan Center for Justice at the New York University School of Law.

“Receivership litigation strikes at the heart of democratic governance,” Mr. Stroud said.

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The structure of receiverships, from who the appointee is to how much control that person has, has varied vastly. In some cases, the person comes from outside the system; other times a government official is chosen.

In two cases, the receiver had complete authority, essentially replacing the local government officials, according to the monitor. In the other instances, some local government control remained.

However, receiverships have not always led to fast or permanent changes.

California’s prisons have been under a receivership focused on medical care since 2006.

People in the Washington, D.C., jail system filed a class-action lawsuit in 2024 accusing it of unconstitutional treatment because of a failure to provide medical care, according to the monitor, 24 years after the receivership ended.

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And Alabama’s prison system, whose groundbreaking receivership concluded in 1983, was found to have violated the constitutional rights of detainees in its men’s prisons in 2020 following a U.S. Justice Department investigation.

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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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