New York
When It Comes to D.E.I. and ICE, Trump Is Using Federal Grants as Leverage
During President Trump’s first months in office, officials in his administration have used the threat of withholding federal funding to bend institutions and municipalities to their ideological will.
That strategy shows no signs of abating.
The Department of Homeland Security is reviewing billions of dollars in grants for cities and states to make sure recipients comply with Mr. Trump’s priorities on immigration enforcement and diversity programs.
Now grant beneficiaries must “honor requests for cooperation, such as participation in joint operations, sharing of information or requests for short-term detention of an alien pursuant to a valid detainer,” according to the terms and conditions for grants distributed by the department.
The terms and conditions, which were first released last October and quietly updated in late March, also mandate that those who receive grants “will provide access to detainees, such as when an immigration officer seeks to interview a person who might be a removable alien.”
“I see it as the beginning of the reshaping of our national emergency management infrastructure,” said Mark Ghilarducci, who previously served as California’s state emergency services director. “Now it will be based upon ideology versus what is the actual need.”
The changes likely imperil tens of billions of dollars in grants to states and cities that have rules limiting cooperation with officials from U.S. Immigration and Customs Enforcement, he said.
The review of the federal grants is the latest reminder that Mr. Trump does not view federal funding to bolster police departments or help communities recover from disasters as support that comes without strings attached. Instead, he uses federal grants as leverage against state and local governments to ensure compliance with his political agenda.
One criterion is whether certain locales are sanctuary jurisdictions, which broadly refers to cities and counties that block their local jails from cooperating with federal immigration officials.
ICE prefers to pick up undocumented immigrants from local lockups, but in order to do so, it needs collaboration from county sheriffs. In some cities and counties, this collaboration is outright blocked or severely limited.
Peter Gaynor, who served as FEMA administrator and briefly as acting U.S. secretary of homeland security during Mr. Trump’s first term, saw these changes as in line with the priorities the president has set out.
“This is the way they are going to operate,” Mr. Gaynor said. “The administration is going to, from time to time, check you to make sure that you’re compliant with the federal grant guidance.”
“You don’t have to accept the money,” he added. “You can decline the money. I think that’s part of the formula here.”
California and some of its cities and counties have laws against cooperating with ICE. Now local governments and community organizations are at risk of losing billions of dollars because of the change in D.H.S. policy, said Brian Ferguson, a spokesman for the state’s governor, Gavin Newsom.
The department normally provides grants that support a variety of public safety services, including police, fire and emergency response as well as programs to prevent domestic violence and sexual assault.
“These are grants that are critical to prepare for the next disaster and help keep communities safe,” Mr. Ferguson said.
It is unknown exactly how much money is at risk in California or which cities, counties or community groups may lose grants, he said.
“Like much of the work that’s happening at the federal level, we’re working to understand what exactly it means on an implementation level,” Mr. Ferguson said.
Officials in New York and other states expressed similar fears and uncertainty. The office of Attorney General Letitia James of New York was aware of the updated guidance and reviewing it. Like in California, billions of dollars in grants could be on the chopping block.
Officials with the Federal Emergency Management Agency have already identified nearly $1 billion in funding they think should be cut and another almost $4 billion that is being reviewed, according to a memo reviewed by The New York Times.
Some funding — like $80 million from FEMA to New York City for migrant shelters — was clawed back this winter. The money for these beds came from FEMA’s Shelter and Services Program. Now federal officials want to cancel about $887 million in grants from that program.
Tricia McLaughlin, a spokeswoman for the Department of Homeland Security, said that the homeland security secretary, Kristi Noem, “has directed FEMA to implement additional controls to ensure that all grant money going out is consistent with law and does not go to fraud, waste or abuse.”
“The open borders gravy train is over, and there will not be a single penny spent that goes against the interest and safety of the American people,” Ms. McLaughlin added.
Another program under review involves nearly $2 billion in grants to law enforcement agencies, cities and states to help themselves prepare and respond to terrorist attacks. In the fiscal year ending in October, entities in New York received close to $320 million from this program.
Avi Small, the press secretary for Gov. Kathy Hochul of New York, pointed out in a statement that “the federal government has issued multiple orders, directives and guidance that were later overturned in court or rescinded by the administration.”
“We have received this guidance, which could have significant fiscal impacts for disaster relief and other critical state functions, and are assessing our options moving forward,” he added.
Last week, the New York State Education Department said it would not go along with the Trump administration’s threats to pull federal funding from public schools over certain diversity, equity and inclusion programs. The updated terms and conditions from D.H.S. for grantees includes new requirements in this area as well.
During Mr. Trump’s first term, his administration fought in court to withhold millions of dollars from law enforcement agencies in states and cities that did not cooperate with his immigration agenda. A federal judge ultimately overturned the executive order issued by Mr. Trump that withheld federal funding to sanctuary jurisdictions.
After wildfires erupted in California in 2018, Mr. Trump said on social media that he had ordered FEMA to “send no more money” unless the state changed its approach to forest management.
Mr. Trump has threatened on multiple occasions to withhold money from California, including earlier this year as parts of Los Angeles were ravaged by wildfires. He said that he would help but that he first wanted the state to impose voter identification laws and change its environmental policies.
On Friday, Trump officials were admonished by a federal judge for not complying with an order the judge had issued in early March to unfreeze billions in FEMA funds in at least 19 states. The Times reported last month that freezing of funds had caused chaos for state, local and nonprofits officials who were trying to respond to natural disasters.
Judge John J. McConnell Jr. of the Federal District Court in Rhode Island said on Friday that he thought the funding hold was a “covert” means to punish places with laws that prohibit cooperation with immigration officials.
“Trump has declared war against the American economy and our allies around the world,” said Jason Elliott, who previously served as Mr. Newsom’s deputy chief of staff. “Now American states, with millions of people who voted for him, are the target of his war against common sense.
“His funding threats against states, for nothing but political purposes, will directly harm millions of red voters in those purple and blue states.”
Laurel Rosenhall contributed reporting from Sacramento.
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.
More in Theater
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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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