Perfect Match 

Imagine your tenth favorite food. Not your top favorite, your tenth favorite. You love this food, but you don’t personally identify with it. You enjoy it a lot, but it isn’t incorporated into your being. This is something you have a few times a year, at the very most once a month. Now imagine that you eat this at least once a week, if not more like every other day.

That is the state of biopics in 2026.  From Walk the Line, to Bohemian Rhapsody, to this year’s Michael, Hollywood has accumulated a bevy of well-made and well-acted biopics that are perfectly enjoyable and maybe even inspiring.  A24’s Tony could not fit more perfectly into this collection.  But that is both a positive and a negative.  If you rarely see biopics, at most once a year, then this movie is going to come off as a tense, fresh, and well-crafted take on a celebrity’s life.  But if you keep up with movies on a regular basis and see, say, three to five biopics per year, this might feel a little bit like well-trodden ground. 

Tony shares a lot in common with recent Bob Dylan biopic A Complete Unknown.  Both films focus on a young white man, who possesses more arrogance than there are stars in the universe, involved with a young woman who fluctuates between despising him and being in love with him depending on how honest he is about his life.  There are notable differences, and certainly neither film can be accused of “recycling” when they are both based on real figures, but the story structure remains the same.  Both even take place in roughly the same region of the United States. 

AsAmmoniteandSupernovaenter theaters and get their VOD releases, audiences are given their annual taste of queer cinema for the winter awards season. And once again, as it was in 2005 whenBrokeback Mountainwas dominating the Oscars conversation, what few queer-themed films that are released continue to star mostly heterosexual and cisgender actors. As a gay man, I have to wonder why this keeps happeningso often, decade after decade. And I must be clear, I am first in line to praise Cate Blanchett and Rooney Mara’s powerful performances in Todd Haynes’sCarol, and I do think films likePhiladelphia,Milk, Call Me by Your Name, andBrokeback Mountainare worthy of the accolades they receive for their writing, directing, and acting. But I do have to wonder, would these films feel more truthful, or at least more emotionally rich, if these gay characters were actually played by gay people? It isn’t as if there’s a shortage of highly skilled working gay actors, there are certainly trained LGBTQ+ performers out there who struggle to navigate an unequal system.

In a2020 GLAAD study, of the 118 films counted from major film studios in 2019, 22 (18.6%) contained characters identified as LGBTQ, showing a slight improvement of two films from the previous year’s 20 films (18.2%). GLAAD also reported that the racial diversity of LGBTQ characters decreased to only 34% of LGBTQ characters being people of color. Of these few characters that are identified as LGBTQ, most were portrayed by otherwise successful heterosexual actors (such as inRocketman,Booksmart, andVelvet Buzzsaw). What if an unknown gay actor played Elio in the high-profileCall Me by Your Nameand received an Oscar nomination for his breakout performance, instead of chiseled Tumblr-boy dreamboat Timothée Chalamet? In the massively successfulRocketman, instead of hunky Taron Egerton playing the most muscular version of Elton John ever, what if a gay actor who fits Elton John’s description a little better portrayed the gay icon? Would Ryan Murphy’sThe Promnot benefit from replacing James Corden’s arm-flailing, gay-lisped performance with someone like Tituss Burgess?