Welcome to 2020—or what historians may call “the twenties 2.0.” The last time ’round—that is, 1920 through 1929—revolution was afoot in just about every corner of culture, from the rise of fashion as expression (more than decadent, those sequined get-ups symbolized post-war optimism) to that Hollywood innovation f.k.a. the “talkie.”

The 20th century’s third decade was a particularly active one for movie culture, beginning with the inception of industry “hot spots” like Musso & Frank (est. 1919) and the Ambassador Hotel (1921) and capping off with the most consequential of celebrity watering holes, the Academy Awards, in 1929. As that decade’s 21st-century counterpart kicks off, we channel the spirit of revolution, celebrating cover star Margot Robbie as the actress pivots from the political drama of Bombshell to wreaking havoc on Gotham in Birds of Prey. We also wink to the past, with one fashion story featuring a cameo by history’s most famous bombshell.

In the eye of media oversaturation, Robbie’s mix of global fame and Hollywood prestige also feels like a throwback. As the delightfully unhinged heroine in this month’s Batman spinoff, the actress proves that the blockbuster is thriving under its female heirs, who range from wonder women to complex antiheroes like Harley Quinn, a psychological tour de force for Robbie.

Of course, the Hollywood landscape was, and is, a reflection of the larger world—de ned today by a kind of inclusivity and hypervisibility of which 1920s revelers could have only dreamed. Film (and fashion) have increasingly reflected this global society, a trend visualized in Nathaniel Goldberg and George Cortina’s fashion story “2020: A New Spring,” capturing six exceptional studies in next-gen beauty. Meanwhile on the global stage, Patti Wilson and Reto Schmid futuristically frame model Selena Forrest. And a trip down Hollywood Blvd. with filmmaker Christian Coppola sees bright young stars at an old-Hollywood haunt. Whatever the next decade holds, we have some formidable sequined pumps to fill.