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.

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?

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.

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.

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.

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.

“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.’”

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.

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.

“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 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.

“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."