April 1, 2025

THE CITY POLITIC

Photo: Stephanie Keith/Getty Images

Denial has been a trademark Democratic reaction in the Trump era, writes Simon van Zuylen-Wood. The election, which saw Trump win the popular vote outright, blindsided many in the partisan media, and it appears no state in the country shifted more toward Trump than New York and no metropolis more than New York City. In truth, the MAGA faithful are not among the city’s upper-middle-class liberals; it was the areas of the city where some of the least wealthy and least white reside that broke hardest toward Trump. For our latest cover story, van Zuylen-Wood examined how the city turned red. 

SCAMS

Illustration: Federico Yankelevich

Two weeks after her new tenant moved into her loft, Suzanne Seggerman learned that he had been doing demolition work. Upon rushing to the scene with her husband, they discovered mountains of debris piled against the brick walls, broken two-by-fours, shards of drywall, and shattered doors. And this was just the beginning of the nightmare. 

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DINING OUT

Photo: Hugo Yu

For all its protestations of humility — it’s just a little “corner store” — the Corner Store has, in short order, become basically out of reach for the average diner. By 5 p.m. on a recent night, a line had formed down West Broadway filled with people hoping for the mere possibility of cancellations or no-shows. Chief restaurant critic Matthew Schneier visits the restaurant, which, he writes, seems to aspire to something like "adult cuisine imagined by children." 

The bathtub is "paisley-shaped."     Photo: Joel Pitra

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These are the city's 22 best sauces. Have you tried them?    Photo: Suzanne Saroff

During the last century, Paris was where Spanish composers learned to define Spanish music, Americans to sound American, and Argentines to reinvent the tango. The versatile string quartet explores those pathways of innovation with a program of Ravel, Gershwin, Piazzolla, and Paquito D’Rivera. —Justin Davidson

In an age flooded with Gatsby adaptations, Elevator Repair Service’s six-and-a-half-hour-long (plus dinner break!) theatricalization of every damn word of F. Scott Fitzgerald’s novel is still the apogee of the form. It’s back for an encore run at the Public and really not to be missed. —Sara Holdren

Happily for us, Sue Williams, who blasted onto the stage in the 1993 Whitney Biennial, never left it. In her latest outing, we get large Arshile Gorky–inspired paintings by way of masterful, feminist detail. Drink in the prismatically colored surfaces, then get caught up in quasi-abstract images. Is that an onion bulb or a scrotum? All the semi-erotic mayhem subsides and becomes a seabed delight to drift in. —Jerry Saltz

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