When representation meets intersectionality as audiences and cultural writers turn their gazes to the past, we find ourselves engaged in conversations about works that focus on the notion that a particular film couldn't be made today as it was decades before. Greenlighting projects comes with an understanding that how characters are seen and recognized matters, which challenges a long-established status quo that has benefitted certain performers (and forced others to remain invisible, even in the telling of their own narratives).
We have set a standard — stretching all the way back to the earliest days of live theater (let's just posit it, for the sake of this conversation, to the Shakespearean age) — that allowed white men to play all roles: male, female, people of color, different sexual identities. The cultural norms of this period informed and maintained an ongoing system of not only deliberate erasure, but a celebration of one group's (cis white men) portrayal of others as the privileged end goal.