The Billie Eilish story is a paradigm of pop music and marketing, 2020s-style. Eilish’s instinctive talent became evident when she was barely into her teens, and she flourished with the support of a close-knit and musical family. But the club-gigs-and-radio-play model is long gone, and Eilish’s high-speed ride was boosted by a deal with Apple Music, releases of individual tracks on SoundCloud and YouTube and hefty promotional support from Spotify.

One of the world’s leading architectural photographers, Julius Shulman was the subject of a show at London’s Photographers’ Gallery this autumn, “Altered States of America”. That title surely alluded to the visual modernism that changed the face of that country over the course of the 20th century, which Shulman, working in close tandem with the architects concerned, captured over a career of almost eight decades, in California especially.

Making sourdough, PE with Joe Wicks, writing a novel… none of that for Derby’s finest purveyors of unapologetically retro rock. Instead, the Struts decided to make the most of lockdown by recording a new album – all piling into producer Jon Levine’s Los Angeles house (having got themselves COVID-tested first) and spending ten days coming up with this, the follow up to their 2014 debut Everybody Wants and 2016's Young&Dangerous.

Old Dolio, the oddly named central character played, wonderfully, by Evan Rachel Wood in Miranda July’s third feature film, learned to forge signatures before she could write. “In fact that’s how she learned to write,” says her father Robert (the great Richard Jenkins) proudly.

The 1942 thriller This Gun for Hire, which opened five months after the Japanese attack on Pearl Harbor, was closely adapted from Graham Greene’s 1936 novel A Gun for Sale by Albert Maltz and W.R. Burnett and directed for Paramount by the veteran William Tuttle. Though no masterpiece, it's a film noir landmark – an essential watch.

Comparing Harold Lloyd with Keaton and Chaplin is difficult. Though the input he brought to his films was crucial, Lloyd didn’t write or direct, and there’s much discussion as to whether he was a genuine comedian or a straight actor playing the part of one, his matinee idol appearance befitting a conventional leading man. Lloyd’s trademark horn-rimmed spectacles were suggested by producer Hal Roach, concerned that his star property was too handsome to be funny. The glasses are a superb prop, Lloyd’s normality making his physical comedy all the more effective.

Watching the semi-satirical psychological horror film She’ll Die Tomorrow conjures the last lines of TS Eliot’s "The Hollow Men": “This is the way the world ends/ Not with a bang but a whimper.” Writer-director Amy Seimetz’s second feature doesn’t depict a widescreen apocalypse – it’s a low-budget indie, after all – but offers a collective whimper from a not very likeable group of people l

Katy Perry occupies an odd position. By some measure the biggest pop star in the world over the last decade, with streams in the billions, she’s always been an awkward mix of old-school razzle-dazzle showbiz hucksterism, knowing sass and awkward vulnerability.

Allergic to that word “influencer”? Afraid that social media is the death of civilisation as we’ve known it? Then this movie may be for you.

It was Alison Ellwood who directed 2013’s History of the Eagles, and now she’s at the helm of this new two-parter on Sky Documentaries, telling the story of the Los Angeles music scene from the mid-Sixties to the early Seventies.