The short documentary ‘Reporting on the Times,’ premiering at the Tribeca Film Festival, exposes The New York Times for burying Holocaust stories. Marlow Stern talks to the filmmaker.
Between 1939 and 1945, The New York Times published more than 23,000 front-page stories. Of those, 11,500 were about World War II. Twenty-six were about the Holocaust.
A New York Times clipping on the Holocaust; children stand in line at the Auschwitz concentration camp in January 1945. (AP (bottom))
So why did “the paper of record,” which President Franklin Delano Roosevelt is said to have combed through every morning, decide to bury the bulk of its Holocaust coverage deep inside the paper, nestled between advertisements?
Just as the media calms down from the Anne Frank controversy, Bieber posts a cartoon on Instagram of himself with a topless “Belieber.”
Given the international outrage, followed by international debate, followed by international soul searching that erupted when Justin Bieber signed in a guest book at the Anne Frank House that he hopes the inspirational icon would’ve been a Belieber—a.k.a. a Justin Bieber superfan—if she were still alive, it’s shockingly obtuse of the pop star to have posted what he did Tuesday night on his Instagram.
The jarring image is an illustration of the 19-year-old shirtless (as if he would be depicted any other way) in bed while a topless woman lays on him in what appears to be a post-coital embrace. Above Bieber appears the caption “Justin.” Above the girl: “Belieber.” Again, Justin Bieber has spent the week drowning in angry tweets and media blowharding over his insinuation that brave, graceful, young Anne Frank would be a Belieber. In the midst of the controversy, he posts on his Instagram a naked girl labeled as a Belieber. Not so smart!
The ‘Mad Men’ and ‘Community’ star stripped down in a sexy Esquire spread. Watch some of Alison Brie’s sexiest moments.
She may play the goody-two-shoes wife of two-timing ad man Pete Campbell on AMC’s hit series Mad Men, but Alison Brie is far from conservative off-camera. The curvy 30-year-old starlet decided to strip down for a sexy photo spread in this month’s Esquire magazine.
In the photos, Brie—who also stars as the quirky Annie Edison on NBC’s Community—shows off her bodacious bod in a pair of revealing swimsuits by a pool.
In the four decades since he hit pay dirt with ‘The Exorcist,’ director William Friedkin has staged operas, slapped actors, and seen Ashley Judd naked. He talks to Lloyd Grove about his new book.
Two movies, made four decades ago, have overwhelmed the oeuvre of Hollywood director William Friedkin: The French Connection, which won five Academy Awards, including Best Picture and Best Director, came out in 1971; The Exorcist, one of the highest-grossing movies of all time, was released in 1973.
Director William Friedkin. (Franco Origlia/Getty)
As the eminent auteur acknowledges in his new memoir, The Friedkin Connection, none of his other movies—21 so far—have matched the acclaim and commercial success of those two career-making blockbusters.
Sundance Channel’s ‘Rectify,’ which begins on Monday, is a weighty meditation on crime, punishment, beauty, and solitude. It is also insanely riveting television, says Jace Lacob.
Sundance Channel, the indie-centric network that is closely aligned with corporate sibling AMC, is quickly ascending to a place of prominence in an increasingly fragmented television landscape. For the longest time, the network was identifiable as the home of independent films, repeats of Lisa Kudrow’s short-lived HBO mockumentary The Comeback, and some forgettable reality fare. It lacked a cohesive programming identity and existed within the same hazy hinterlands as IFC.
Adelaide Clemens as Tawney and Aden Young as Daniel in Sundance Channel's Rectify. (Sundance Channel)
But in the last year, Sundance Channel has found itself in the white-hot spotlight normally reserved for AMC—home of Mad Men, Breaking Bad, and The Walking Dead—thanks to a slew of high-profile and critically acclaimed shows, like the gripping paraplegic unscripted series Push Girls, Jane Campion’s haunting mystery drama Top of the Lake, and now Rectify, a six-episode drama that begins Monday.
Cold War Kids’ fourth album, ‘Dear Miss Lonelyhearts,’ marks a new stage in the band’s roller-coaster career. The indie rockers tell Marlow Stern about their journey and how they were unfairly targeted for their faith.
Back in 2006, the California-based band Cold War Kids exploded into the indie-rock consciousness. Their debut album, Robbers and Cowards, sold close to 200,000 copies, blockbuster numbers by indie standards, and they graduated from playing house parties for their friends’ 21st birthdays just years prior to amphitheaters across the world.
This CD cover image released by Downtown shows "Dear Miss Lonelyhearts," by Cold War Kids. (Downtown/AP )
“I realized that something great was happening when we went to Australia at the end of a 2-and-a-half month world tour,” says bassist Matt Maust. “We were playing 2,200-capacity venues in Australia. I remember stepping out and being like, ‘Wow.’”
The former Nick star startles the Internet with a strange video of her posing in a mirror, and responds to their concern with an angry rant. Is Bynes troubled, or trolling?
Amanda Bynes’s Twitter account is fascinating. Riveting, even. It’s perhaps the most curious case study of self-obsession and self-publicizing on the Internet. A bizarre, kind-of-spellbinding video Bynes posted on her account yesterday is just the tip of the iceberg. Its title: “I’m Sucking On A Sour Patch Kid Listening To Music Getting Ready For Tonight :D.”
The video is just as it sounds. Bynes’s lips are puckered as if she is, in fact, sucking on a sour candy, and she squints her eyes as she poses her head in various angles. Club music thumps in the background. It is filmed on her iPhone using a mirror. There is 18 seconds of black in the middle of the clip.
The 90-year-old-grandmother who sent the Internet aflutter with her video wearing virtual-reality goggles talks to Jean Trinh about her newfound Internet fame.
“Holy mackerel, this is unbelievable!”
Folks, the future of technology is here. Ninety-year-old Rachel Mahassel can attest to that.
In the wake of the Newtown and Boston Marathon tragedies, the Motion Picture Association of America decided to adjust the ratings system to better accommodate parents.
In the wake of the horrific shooting at Sandy Hook Elementary School in Newtown, Connecticut, that claimed the lives of 26 people, Vice President Joe Biden met with the Motion Picture Association of America (MPAA) in early January to discuss the issue of gun violence in America. While some Obama administration officials reportedly wanted the MPAA to curb violence in movies, MPAA chief and former Sen. Chris Dodd (D-CT) remained steadfast, arguing that Hollywood would “vehemently” oppose any form of policing when it comes to onscreen violence.
Rescue workers responded to the scene following two explosions on Boylston Street in Boston near the finish line of the Boston Marathon. (Photo illustration: The Daily Beast. Photo: Boston Globe/Getty)
“What we don't want to get involved with is content regulation,” Dodd told The Hollywood Reporter. “We're vehemently opposed to that. We have a free and open society that celebrates the First Amendment."
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