new york

NEW YORK — A federal judge has ordered the Trump administration to restore funding to a new rail tunnel between New York and New Jersey, ruling just as construction was set to shut down and amid reports that President Trump was withholding the money unless Democratic Senate leader Chuck Schumer saw to it that Penn Station and Washington Dulles International Airport were renamed in the president’s honor.

The administration had sought to pressure Schumer (D-N.Y.) to help get the facilities renamed for Trump in exchange for releasing the money to fund the massive infrastructure project, according to the New York Times, citing top administration officials.

The judge’s decision Friday came months after the administration announced it was halting $16 billion in support for the project, citing the then-government shutdown and what a top federal budget official said were concerns about unconstitutional spending around diversity, equity and inclusion principles.

U.S. District Judge Jeannette A. Vargas in Manhattan approved a request by New York and New Jersey for a temporary restraining order barring the administration from withholding the funds while the states seek a preliminary injunction that would keep the money flowing while their lawsuit plays out in court.

“The Court is also persuaded that Plaintiffs would suffer irreparable harm in the absence of an injunction,” the judge wrote. “Plaintiffs have adequately shown that the public interest would be harmed by a delay in a critical infrastructure project.”

The White House and the Department of Transportation did not immediately respond to emails seeking comment Friday night.

New York Atty. Gen. Letitia James called the ruling “a critical victory for workers and commuters in New York and New Jersey.”

“I am grateful the court acted quickly to block this senseless funding freeze, which threatened to derail a project our entire region depends on,” James said in a statement. “The Hudson Tunnel Project is one of the most important infrastructure projects in the nation, and we will keep fighting to ensure construction can continue without unnecessary federal interference.”

The panel overseeing the project, the Gateway Development Commission, had said work would stop late Friday afternoon because of the federal funding freeze, resulting in the immediate loss of about 1,000 jobs as well as thousands of additional jobs in the future.

It was not immediately clear when work would resume. In a nighttime statement, the commission said: “As soon as funds are released, we will work quickly to restart site operations and get our workers back on the job.”

The new tunnel is meant to ease strain on an existing one that is more than 110 years old and connects New York and New Jersey for Amtrak and commuter trains, where delays can lead to backups up and down the East Coast.

New York and New Jersey sued over the funding pause this week, as did the Gateway Development Commission, moving to restore the Trump administration’s support.

The suspension was seen as a way for the Trump administration to put pressure on Schumer, whom the White House was blaming for a government shutdown last year. The shutdown was resolved a few weeks later.

Speaking to the media on Air Force One, Trump was asked about reports that he would unfreeze funding for the tunnel project if Schumer would agree to a plan to rename Penn Station in New York and Dulles International Airport in Virginia after the president.

“Chuck Schumer suggested that to me, about changing the name of Penn Station to Trump Station. Dulles airport is really separate,” Trump responded.

Schumer responded on social media: “Absolute lie. He knows it. Everyone knows it. Only one man can restart the project and he can restart it with the snap of his fingers.”

At a hearing in the states’ lawsuit earlier in Manhattan, Shankar Duraiswamy of the New Jersey attorney general’s office told the judge that the states need “urgent relief” because of the harm and costs that will occur if the project is stopped.

“There is literally a massive hole in the earth in North Bergen,” he said, referring to the New Jersey city and claiming that abandoning the sites, even temporarily, “would pose a substantial safety and public health threat.”

Duraiswamy said the problem with shutting down now is that even a short stoppage would cause longer delays because workers would be laid off and go off to other jobs and it would be hard to quickly remobilize if funding becomes available. And, he added, “any long-term suspension of funding could torpedo the project.”

Tara Schwartz, an assistant U.S. attorney arguing for the government, disagreed with the “parade of horribles” described by attorneys for the states.

She said that the states had not even made clear how long the sites could be maintained by the Gateway Development Commission. So the judge asked Duraiswamy, and he said they could maintain the sites for a few weeks and possibly a few months, but that the states would continue to suffer irreparable harm because trains would continue to run late because they rely on an outdated tunnel.

Izaguirre and Collins write for the Associated Press and reported from New York and Hartford, Conn.

This year’s Sundance felt marked by great uncertainty. Personally, I was never quite sure how to feel, as the many unknowns of next year’s move to Boulder meant that it was unclear how much this year was supposed to feel like the end of something or the start of a new beginning. I didn’t know just how mournful to be, though, as the festival marched along, it became clear there was a space for nostalgic reflections.

The first movie I ever saw at Sundance was Andrew Fleming’s comedy “Hamlet 2” in the Library Center Theatre. Which means it was 2008 and I was then an intrepid freelancer who talked my way into sleeping on a recliner at a condo rented by The Times until staffers trickled out and I eventually had the place to myself because of the vagaries of an extended rental agreement. Which is how I found myself, entirely unexpectedly, in a room interviewing all of Crosby, Stills, Nash and Young, who were in town for their tour documentary “CSNY/Déjà Vu.”

That sense of surprise and discovery — and in-person interactions that likely wouldn’t happen anywhere else — are what have brought me back to the festival every year I could manage since. It’s exactly why I have been a huge fan of the festival’s NEXT section, made up of films that don’t quite fit elsewhere in the program. A standout this year was Georgia Bernstein’s debut feature, “Night Nurse,” a film of assured poise about a young woman (a compelling Cemre Paskoy) who takes a job at a retirement home only to find herself drawn into a series of phone scams, erotic role play and psychosexual transference with one the clients. Recommending the film to colleagues feels a little like an HR violation, but the kinky undercurrents and unsettling emotions are worth it.

Cemre Paksoy and Bruce McKenzie in the movie “Night Nurse.”

(Lidia Nikonova / Sundance Institute)

Many conversations around the festival seemed to firmly center on “The Invite” and “Josephine,” but another film people consistently brought up was “Wicker.” Written and directed by Eleanor Wilson and Alex Huston Fischer, adapting a short story by Ursula Wills-Jones, the film takes place in an unspecified time and place: a sort of medieval-ish middle European village of the mind, in which an unmarried woman (Olivia Colman) asks a local basket weaver (Peter Dinklage) to make her a husband. That he comes out looking like Alexander Skarsgård sets the whole town into a tizzy. Nimble and inventive, with convincing special effects work, the film is a charming parable that continually finds ways to reset itself.

It is unclear just how planned it was, but there could have been no better film than “The Only Living Pickpocket in New York” to be the final fiction feature to debut in the Eccles Theatre, one of the festival’s most storied venues. Character actor Noah Segan’s directorial debut, the movie is a warmly elegiac portrait of the city and the pain of recognizing when your time has passed. Led by a quietly commanding lead performance by John Turturro, the film also features Steve Buscemi and Giancarlo Esposito in supporting roles.

As the trio took the stage with Segan and other cast members after the film, it quickly became apparent how special it was to have those three actors there in that moment. Buscemi rattled off a quietly astounding number of films he has appeared in with “New York” in the title — “New York Stories,” “Slaves of New York,” “King of New York” — while Turturro spoke movingly about his relationship with Robert Redford, whose absence hung heavy over the entire festival.

John Turturro in the move “The Only Living Pickpocket in New York.”

(MRC II Distribution Co. L.P. / Sundance Institute)

As Esposito began talking about what Sundance has meant to him over the years, his words took on a fierce momentum. He recalled when he first came to the festival in the ’90s, he was “ecstatic because it gave a voice to those who didn’t have a voice. … We didn’t come to sell a film to a big studio. We came to share our small movie with human beings that could really see themselves in a mirror on the screen.”

Of Redford, he added, “His vision is priceless. It’s the gem that we all hope for. It’s the juice of why we live. It’s the connection of why this movie works. It’s the love of what we do. This, to me, will stick with me for the rest of my life. My interactions with this man who started this festival will always be a beacon of light in my creative process.”

It was a beautiful and inspiring way to leave that theater for the last time and, in turn, leave Park City behind for a future that, while full of unknowns, will for now also hold the promise of new discoveries to come.

An ambitious transatlantic tunnel connecting London and New York could see travellers make the journey in just 54 minutes, though the project carries an estimated £15.6 trillion price tag.

Travelling from London to New York in less than an hour might one day become reality. Bold proposals could materialise following suggestions for a tunnel linking the two cities across the Atlantic.

The concept isn’t fresh, as countless visionaries have imagined such an achievement, though it’s long been deemed unfeasible. Nevertheless, Elon Musk weighed in on the notion, claiming his firm, The Boring Company, could turn it into reality.

Technological advances have progressed significantly, thanks to vacuum tubes and pressurised vehicles.

Despite carrying an eye-watering price tag, the journey could potentially come to fruition. Estimates for excavating beneath the Atlantic Ocean have exceeded £15trillion.

However, Musk insisted he could deliver it for considerably less. In 2024, he posted on X: “The @boringcompany could do it for 1000X less money,” responding to the cost projections, reports the Express.

The proposals might appear outlandish, but vacuum technology could be edging it towards reality. Newsweek reported that a vacuum within the tunnel could enable trains to achieve speeds exceeding 3,000 mph.

This would slash the London to New York journey time to just under an hour. The train could prove more environmentally sound as it may reduce air pollution from aviation.

The technology behind a vacuum tunnel resembles superloop trains, which Swiss engineers believe will “change the future of travel”. Yet, numerous companies have attempted and struggled to perfect the hyperloop technology.

Plans for the tunnel have prompted some engineers to suggest it should be constructed below the seabed, whilst others argue that suspending it using cables or supports would prove superior.

The Channel Tunnel serves as the closest comparison to the Transatlantic proposals, linking Britain to France.

It spans merely 40 miles in contrast to the 3,000 miles separating Britain from New York.

Moreover, it required six years to build. Should the proposed tunnel connecting Britain and America proceed at an identical pace, it would demand an extraordinary 782 years to finish.