In recent years, biographical films (biopics) have become almost a monthly staple across theaters. Encouraged by “Oppenheimer”’s Oscar sweep in 2024, directors and studios have found a cheat code to releasing consistently successful films: taking an already prominent, real figure and attempting the near impossible feat of encapsulating them in a two hour medium. In the process of rushing these films out, casting has turned into a rat race between studios, each trying to get the most A-listers to play these figures without consideration for their realities.

In the same year “Anora” director Sean Baker gave a speech encouraging audiences to go to theaters, director Sam Mendes took that message to the next level. In an attempt to create the “first binge-able theatrical experience,” Mendes is releasing four films in 2028, each one depicting a member of The Beatles band. Any sliver of pretentiousness hinted at by that quote is confirmed by the casting of these films. With actors like Paul Mescal and Barry Keoghan playing Paul McCarthney and Ringo Starr, respectively, it’s clear these films were not made with the intent to accurately capture the lives of an arguably revolutionary band. The four actors chosen, besides not even resembling the musicians they’re set to play, are merely celebrity names chosen solely for profit, taking away roles from aspiring actors in the all too common process. Also, more importantly, if all four are being released simultaneously, who is going to watch the Ringo Starr film? 

Some directors take a more on-the-nose approach to their narcissism, casting themselves to play people who actually made a difference in history. In 2023, Bradley Cooper had the idea to both direct and star in a film depicting the life of famous composer Leonard Berstein. “Maestro” ignores the entirety of Bernstein’s political activism against the Vietnam War and arms race, the awareness he brought to HIV/AIDS and his support for the Civil Rights Movement. Bernstein is instead reduced to his career, sexuality and marriage. Cooper’s desperate attempt to prove himself as an auteur and performer exemplifies the lack of effort exerted by directors attempting to depict real figures, focusing on their aesthetic, entertaining traits over what they actually stood for. It’s important to consider the real damage risked in some recent casting depictions in biopics. By casting eurocentric, western actors to play figures who may have looked ambiguous or who went against beauty standards, recent films are essentially whitewashing major historical figures. Even celebrities like Bob Dylan who are white are still stripped of their physical individuality when studios cast actors like Timothée Chalamet. As seen in the skit recently released by “Saturday Night Live” making fun of “White Lotus” actress Aimee Lou Wood for her natural teeth, modern actors are judged by the extent to which they conform to popular, western beauty standards.