Film historians may have yet to solve the mystery of exactly who or what “Rosebud” was in Orson Welles’ great movie—some would say the greatest movie of all time—Citizen Kane. But Netflix’s new drama Mank pulls the curtain back on just about every other secret surrounding the famous production.

What do Christian pastors Alistair Begg and John MacArthur have in common with atheist Bart Campolo and emergent theologian Tony Jones? They appear together in the 2019 film American Gospel: Christ Crucified—second in the American Gospel series created by Brandon Kimber and available on Amazon Prime and Apple TV.

It has become fashionable for celebrities to post makeup-free selfies—and they look just like us. In the Netflix series Song Exploder (rated TV-MA for language), rock stars listen as interviewer Hrishikesh Hirway plays stripped-down vocal and instrumental tracks from their hit songs back to them. It’s not always pretty.

The modern entertainment and arts industries have never undergone a shake-up like the one they experienced in 2020. Trends that were well underway as the year started, like the streaming revolution, moved to warp speed as a result of the COVID-19 pandemic. Other well-established developments, such as the dominance of blockbuster superhero movies or the popularity of televised sporting events, stalled out or even reversed, though the virus wasn’t the lone driver of some of these changes.

Here was the big 2020 entertainment news.

In a sunny Los Angeles parking lot, the camera pans between two white canopy tents, both filled with numerous tables. Soon, one tent will be bustling with actors and crew taking a break from work on an NBCUniversal production. The other, an outdoor dining area for Pineapple Hill Saloon and Grill, will remain empty because of state coronavirus restrictions. In a social media video that went viral, saloon owner Angela Marsden lamented the unfairness of the situation, which exemplifies why many other Californians are upset, too.

Even beyond its 1960s sets and costumes, there’s something old-fashioned about The Queen’s Gambit, Netflix’s new drama about an orphaned girl competing in the man’s world of professional chess.

When Warner Bros. Pictures announced in November that Wonder Woman 1984 would come out on Christmas Day in theaters and on the streaming platform HBO Max, theater owners, desperate for a blockbuster to draw back audiences, welcomed the news. Last week, however, the studio made the unwelcome decision to extend that hybrid model to all its movies slated for release in 2021.