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    Paris Hilton and Nicole Richie Revisit ‘The Simple Life’

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    The celebutantes-turned-businesswomen are rebooting the show that provided a blueprint for the past 20 years of reality TV.How would two troubled Los Angeles heiresses manage as members of the Bible Belt working class?The answer helped revolutionize reality TV and legitimized the careers of Paris Hilton and Nicole Richie. In 2003, the pair of 22-year-olds debuted in Fox’s “The Simple Life,” which documented their move to Altus, Ark. to live with a family on their farm and try out blue collar jobs.Hilton and Richie brought rich-girl haughtiness and high jinks to mundane tasks like cleaning hotel rooms and, in one memorable episode, serving burgers at a Sonic Drive-In. The result was a quotable megahit — with heart. “Their fish-out-of-water ineptitude serves as a social leveler that gives them their comeuppance and preserves the dignity of their rural hosts,” Alessandra Stanley wrote in a review for The New York Times. Unlike the other popular reality programs of the time, like “Big Brother” and “Survivor,” the allure of “The Simple Life” didn’t come from a wild premise or shocking competition: The personalities of and friendship between Hilton and Richie were the drawing card. That recipe has been built upon in subsequent reality franchises like “Keeping Up With the Kardashians,” “Jersey Shore” and “The Real Housewives.”More than two decades later, the two are appearing in “Paris & Nicole: Encore,” a three-part reboot which is primarily set in L.A. and involves activities and outings a bit closer to home. It will air on Peacock beginning Thursday. Though the show centers on the pair’s staging of an opera based on “sanasa,” a made-up word which fans might remember as a mainstay joke on the original, Hilton and Richie also revisit Altus, Sonic and the friendship that made their show riveting TV.“There was nothing really to compare it to,” Hilton said of “The Simple Life.” “So we had no idea what we were getting ourselves into.”Jerod Harris/Getty Images for VultureAhead of the “Encore” premier, we talked to Hilton and Richie about how reality TV has changed since “The Simple Life,” the impact of social media on the genre and the shows they’re enjoying now.Here are edited excerpts from the conversation.You were some of the first reality TV stars, and now it is an oversaturated industry. How do you think the landscape has changed since “The Simple Life” first aired?We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Storm King to Begin 2025 With Nora Lawrence as Executive Director

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      The family-run Hudson Valley sculpture park inaugurates its 65th anniversary year with fresh leadership, a $53-million upgrade and new acquisitions.Storm King Art Center, the 500-acre outdoor museum, announced on Tuesday that Nora Lawrence, its artistic director and chief curator, will succeed its president, John P. Stern, as the institution’s leader in January. It also announced a series of commissions and acquisitions, and a solo show by the Brazilian visual artist Sonia Gomes.It is the first time that Storm King — founded in 1960 by Stern’s grandfather, Ralph E. Ogden, and father, H. Peter Stern, in New Windsor, N.Y. — will be stewarded by someone from outside their family.In choosing Storm King’s inaugural executive director, the board decided to forgo a typical search and unanimously select Lawrence, who rose through the ranks over 13 years, starting as an associate curator.From left, the artist Sarah Sze and Lawrence on the grounds of Storm King in 2021.Lila Barth for The New York Times“There is no one more qualified to take the helm than Nora Lawrence, with whom I’ve had the privilege of working closely and whose artistic vision has helped make Storm King the international destination that it is today,” Stern wrote in a statement. He took the reins from his father in 2008 and now, at age 64, will transition to a position as the board’s president and senior adviser; his two sisters also serve on the board of the nonprofit organization.The generational change — Lawrence is 45 — is part of the “transformation from Storm King being a wonderful, family-led organization to becoming increasingly a more public-facing organization in every way,” said Adam D. Weinberg, a Storm King board member, who stepped down as director of the Whitney Museum last year.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Jewish Museum Acquires Never-Shown Entry to Venice Biennale

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      Ruth Patir refused to display her video installation at the Israel pavilion until a cease-fire and hostage agreement was reached. “(M)otherland” will debut in Tel Aviv.The Jewish Museum in New York has acquired a video installation by the artist Ruth Patir that was commissioned for the Venice Biennale. It was never displayed, since Patir and the curators insisted that Israel’s pavilion not open until an agreement was reached for the return of hostages taken in the Hamas-led attack on Oct. 7, 2023 and for a cease-fire in the Gaza war.Patir’s “(M)otherland” will debut in March at the Tel Aviv Museum of Art, the Jewish Museum announced Monday, and then will travel to New York after the Jewish Museum’s collection galleries are reinstalled later next year.The museum declined to disclose the price it paid for “(M)otherland,” which comprises five videos, one made in reaction to the Gaza war and offering a personal view of global tragedy. Four video pieces use ancient female figurines retrieved by archaeologists from the eastern Mediterranean to dramatize Patir’s decision to freeze her eggs after learning that she carries the BRCA gene mutation — an odyssey through an Israeli social system that encourages childbearing and aggressively funds fertility procedures. The small figurines, blown up to life-size dimensions and digitally animated, walk the halls of Israeli clinics, check their iPhones in the waiting rooms, and inject themselves with hormones.The exhibit also includes a fifth video piece, “Keening,” in which the figurines — some now shattered — are reimagined as participants in a display of public mourning following last year’s attack.Still from Ruth Patir’s video “Intake,” 2024.Ruth Patir; via Braverman Gallery, Tel AvivRuth Patir, “Petach Tikva (Waiting),” 2024, video still.Ruth Patir; via Braverman Gallery, Tel AvivStill from Ruth Patir’s video, ”(M)otherland,” 2024.Ruth Patir; via Braverman Gallery, Tel AvivWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      The ‘Braiding Sweetgrass’ Author Wants Us to Give Thanks Every Day

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      The world is a gift, not a giant Amazon warehouse, Robin Wall Kimmerer said. In her new book, “The Serviceberry,” she proposes gratitude as an antidote to prevailing views of nature as a commodity.Every summer, the botanist Robin Wall Kimmerer takes a group of students on a two-week field trip deep into the woods and bogs of the Adirondacks.For their final exam, students prepare a feast from foraged plants, dining on a wild menu of boiled cattail kebabs, roasted rhizomes, stir-fried day lily buds, lichen noodles in a gelatinous broth of boiled rock tripe. For dessert there are serviceberry and cattail pollen pancakes, smothered in pine-scented spruce needle syrup.Before digging in, the group recites the Thanksgiving address — an invocation within Indigenous Haudenosaunee communities that gives thanks to the earth and its abundance.“We start the class with a Thanksgiving address to share our sense of gratitude for the plants, and we end the same way,” said Kimmerer, a professor of environmental biology at SUNY College of Environmental Science and Forestry, who is a member of the Citizen Potawatomi Nation. “So we learn about the gifts of plants and how to receive them.”Kimmerer often says that plants have been her teachers throughout her life. As a little girl, she stashed shoe boxes of pressed leaves and seeds under her bed. Later, as a young botanist, she studied the mysteries of moss reproduction. Throughout her decades of research and environmental advocacy, as she’s pushed to bring Indigenous knowledge into ecological conservation work, she’s learned about the delicate web of relationships between plants and their surroundings.Now, as a renowned plant ecologist and best-selling author, Kimmerer is teaching millions of people how to learn from plants.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      What Trenton Doyle Hancock Learned From Philip Guston

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      The Jewish Museum pairs the Texas artist with a 20th-century master. Together they confront racism with horror — and humor.When Trenton Doyle Hancock discovered the artist Philip Guston, it was a revelation. Hancock had just transferred from junior college in his hometown, Paris, Texas, to nearby East Texas State University. He was taking a printmaking class and working with a haunting photograph he’d made of himself partially cloaked in a white sheet with a noose around his neck. The rope wound around his body, including his semi-bare right arm, which holds up a hammer. Titled “The Properties of the Hammer” (1993), it probed the dark contradictions of being a Black man in America.Hancock’s printmaking teacher, Thomas Seawell, asked if he knew about Philip Guston, the New York School artist. Guston had (very controversially) left behind Abstract Expressionism in the 1960s to make figurative, cartoonish paintings of objects like books and shoes, which hearkened back to the Holocaust, as well as hooded Ku Klux Klan figures. Seawell saw a kinship between Guston’s work and Hancock’s, but Hancock had never heard of Guston. So Seawell lent him a book, and the student fell in love.“The forms were so rich, bulbous and tangible,” Hancock, 50, recalled recently. “When you put a colorful toy in front of a child, they want to eat it. That’s how I felt about those paintings: I just wanted to eat them. I didn’t even know you could make work that looked like this. It was totally new to me.”In “The Studio” (1969), Philip Guston’s hooded protagonist is an artist painting his own effigy. The artist was exploring “what would it be like to be evil?” Trenton Doyle Hancock recalled: “The forms were so rich, bulbous and tangible.” The Estate of Philip Guston; via Metropolitan Museum of Art, New YorkIf you’ve never had the urge to eat a painting, you’re not alone, but meeting Hancock or seeing his art helps make that impulse understandable. He is a voracious consumer of culture, and his work has an intense physicality — in the bodies that are forever bending, stretching and breaking in his images, and in the cutout and collaged surfaces of his paintings. Hancock’s world is a profusion of colors, of media, of characters in his ever-expanding multiverse.His studio in a Houston suburb bears this out. Rooms of the two-story house are devoted to various collections, including sketchbooks dating back to childhood, scraps and detritus (literally dirt swept off the floor of past studios), and plastic bottle caps sorted by color.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      ‘Ragtime’ Crushed Brandon Uranowitz’s Dream. Now It’s Healing His Wounds.

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      Nearly 30 years after being let go from the Broadway-bound show, this Tony Award winner is taking a lead role in a new revival at City Center.In 1997, Brandon Uranowitz was a 10-year-old from West Orange, N.J., who dreamed of being on Broadway. He got one small foot in the door that year when he replaced Paul Dano as the wide-eyed little boy Edgar in the musical “Ragtime” during its premiere in Toronto.A year later, “Ragtime” opened on Broadway, and the musical — about three families navigating America at the turn of the 20th century, based on E.L. Doctorow’s 1975 novel — featured most of the Toronto cast, a powerhouse roster that included Audra McDonald, Brian Stokes Mitchell, Peter Friedman, Marin Mazzie and Lea Michele. But Uranowitz wasn’t chosen to make the move. (Alex Strange was cast in the role instead.)That disappointment remains an “open wound,” Uranowitz, 38, said.“It was just, see ya, thanks for coming,” he added. “It felt unfinished.”Uranowitz, center, and other cast members during a rehearsal for the show, which begins performances on Wednesday.Amir Hamja for The New York TimesUranowitz eventually got to Broadway, making his debut in the short-lived musical “Baby It’s You!” and later appearing in “Falsettos,” “An American in Paris” and other shows. Last season, he won a Tony Award for his role in Tom Stoppard’s play “Leopoldstat.”Starting Wednesday, Uranowitz hopes to finally close that open wound when “Ragtime” is revived, not on Broadway but at City Center, where Lear DeBessonet’s new production is to begin performances. And Uranowitz, returning to the show for the first time since his Toronto run, will play the Jewish immigrant father-protector Tateh, the role for which Friedman received a Tony nomination.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      ‘The Safekeep’ Is a Story in the Shadow of Anne Frank

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      In Yael van der Wouden’s debut novel, “The Safekeep,” the writer spins an erotic thriller out of the Netherlands’ failure to face up to the horrors of the Holocaust.The author Yael van der Wouden stood in her slippers at the front door of a canal house in the Dutch city of Utrecht. “Let me prepare you for the journey ahead,” she said, smiling. “There will be a lot of stairs.”She turned and led the way through a long darkened hallway, up a narrow staircase, to another winding hallway, and up more stairs to reach her attic-level apartment in the back of the building.“My landlady calls it ‘het achterhuis,’” said van der Wouden, once inside the cozy interior with slanting roof beams, decorated with books and bric-a-brac. “She’s about 90, and I don’t think she quite understands what that means to me.”“Het Achterhuis,” is the Dutch title of Anne Frank’s famous World War II diary. In English, it is often translated as “the secret annex,” referring to the storage space where the teen diarist and her family hid to escape the Nazis for more than two years. But “achterhuis” is also just a term for the back part of a house, and van der Wouden, who is Israeli and Dutch, does not fault her landlady for missing the reference.“It feels like just another part of existing invisibly, where no one quite thinks about the full effect of their words,” van der Wouden said.“The Safekeep,” van der Wouden’s debut novel and one of six books shortlisted for the 2024 Booker Prize, is full of such clashing perspectives. Words that mean one thing to a character can hold explosive charge for another. Seemingly innocuous objects like silver spoons, or a single shard of broken china, become emotional land mines.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      The Sunday Read: ‘The Blind Side’ Made Him Famous. But He Has a Different Story to Tell.

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      Emma Kehlbeck and Maddy Masiello and Listen and follow ‘The Daily’Apple Podcasts | Spotify | Amazon Music | YouTube | iHeartRadioIt was an overcast Monday afternoon in late April, and Michael Oher, the former football player whose high school years were dramatized in the movie “The Blind Side,” was driving Michael Sokolove on a tour through a forlorn-looking stretch of Memphis and past some of the landmarks of his childhood.In the movie, Oher moves into the home of the wealthy white couple Leigh Anne and Sean Tuohy. They take him shopping for clothes, help him obtain a driver’s license, buy him a pickup truck and arrange for tutoring that helps improve his grades and makes him eligible to play college football. In real life, Oher went on to play eight seasons as a starting offensive tackle in the N.F.L. and won a Super Bowl with the Baltimore Ravens.Now, Oher is suing the Tuohys, claiming that they have exploited him by using his name, image and likeness to promote speaking engagements that have earned them roughly $8 million over the last two decades — and by repeatedly saying that they adopted him when they never did.There are a lot of ways to listen to “The Daily.” Here’s how.We want to hear from you. Tune in, and tell us what you think. Email us at thedaily@nytimes.com. Follow Michael Barbaro on X: @mikiebarb. And if you’re interested in advertising with ”The Daily,” write to us at thedaily-ads@nytimes.com.Additional production for The Sunday Read was contributed by Isabella Anderson, Anna Diamond, Sarah Diamond, Elena Hecht, Emma Kehlbeck, Tanya Pérez, Frannie Carr Toth and Krish Seenivasan. More

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      We Watched Tim Walz’s Old Debates. Here’s What We Learned.

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      He may not be a lofty orator, but he has shown an ability to deliver punchy critiques with Everyman appeal.Before he was known to the nation as an affable Midwestern dad and a vice-presidential nominee, Tim Walz was a fast-talking political long shot in an ill-fitting suit, spoiling, in his Minnesotan way, for a debate-stage fight.As he stood next to his opponent — a crisply dressed six-term Republican congressman — Mr. Walz, a teacher by training, offered viewers a stark contrast at that 2006 debate, hosted by KSMQ-TV. Mr. Walz cast their choice as one between a political insider focused on “moving up in elected office” and the alternative he said he represented: “I live in the world that most of you live in.”Mr. Walz sparred with Gil Gutknecht, then the Republican incumbent, in a 2006 congressional debate.KSMQ-TV, via C-SPANNearly two decades later, Mr. Walz is the one who has moved up in elected office, rising from congressman to governor and now, Vice President Kamala Harris’s running mate. He is set to face Senator JD Vance of Ohio, former President Donald J. Trump’s running mate, in a high-profile debate on Tuesday.Mr. Walz and his allies have tried to set expectations high for Mr. Vance, emphasizing his Yale Law School credentials. And Mr. Vance is a practiced verbal pugilist who seems to delight in combative exchanges on cable news and Sunday morning shows.But a review of a half-dozen recorded debates over Mr. Walz’s career makes clear that while the camo-wearing, car-tinkering man from Mankato may not be his party’s most stirring speaker, he is in fact a seasoned debater himself.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More