Like many others, these past few months, I found myself absolutely engrossed in the world of “Heated Rivalry.” What initially presents itself as a steamy, trope-driven enemies-to-lovers story between two rival hockey stars gradually reveals itself to be something more profound. More specifically, the story evolves from playful antagonism into an intimate exploration of queer acceptance — not just from the public, but also from teammates, family, friends and, finally, oneself.
The show, adapted from a book in Rachel Reid’s “Game Changers” series, is unique in that it was low-budget and filmed in roughly two months by a small independent studio, yet still became a cultural phenomenon.
While its success can be attributed to many factors, the most notable ones are the emergence of breakout stars Connor Storrie and Hudson Williams.
Both actors are talented and likable, but their greatest asset may be something far less tangible — novelty. Within the span of a few months, both men went from unknown waiters to cultural icons — carrying Olympic torches, hosting Saturday Night Live and gaining millions of fans and followers. This type of success is not unheard of, but in an industry increasingly saturated by nepotism babies and the same overused faces, it certainly feels refreshing.
Hollywood has increasingly prioritized familiarity over suitability, placing well-known actors in ill-fitting roles because their built-in audiences help ensure commercial success.
Take, for example, Jacob Elordi, who starred in two recent adaptations of classic literature, “Frankenstein” and “Wuthering Heights.”
I personally found Elordi’s performance in “Frankenstein” to be the movie’s standout, as he perfectly embodied the tortured, enigmatic yet blasphemous creature losing its innocence, earning him his first Academy Award nomination. Elordi’s casting in “Wuthering Heights,” however, has been widely criticized for failing to align with Heathcliff’s racial ambiguity, which is key to the character’s ostracism and complex characterization in the book. Thus, it seems likely that Elordi wasn’t cast based on how well he fit the role, but rather on his status as a popular heartthrob.
I don’t have a specific alternative actor in mind, but that is precisely my point. The film was never lacking in star power and with Margot Robbie attached, its commercial viability was already secure. Casting Jacob Elordi did not make the project bankable; it simply made it familiar and safe.
It’s difficult to believe the film would have suffered financially if it had instead taken a meaningful risk by casting an unknown Romani actor — as that is the racial identity Heathcliff is most often interpreted as — in the role. In fact, such a choice may have even strengthened the film artistically and culturally. An authentic representation would have signaled commitment to honoring Emily Brontë’s story with integrity rather than defaulting to a recognizable face.
Moreover, instead of blending into Hollywood’s pattern of safe, market-driven casting, the film could have distinguished itself as bold and intentional — earning not just attention but respect and, potentially, the critical acclaim it lacks.
Audiences are growing tired of studio executives sacrificing authenticity. One example is the recent casting controversy surrounding Sean Durkin’s upcoming adaptation of the novel “Deep Cuts.” It was announced that increasingly popular “Marty Supreme” actress — and noted nepo baby — Odessa A’zion would play Zoe Gutierrez, a half-Mexican, half-Jewish character. Casting a white actress in the role sparked widespread backlash and ultimately led to A’zion stepping down.
A’zion has since been replaced by “The Last of Us” actress Ariela Barer, who shares the character’s ethnicity. While Barer is not unknown in the way that Storrie and Williams were, she is far from a household name, with 122,000 Instagram followers compared to A’zion’s 2.1 million. Since this change in casting, the upcoming production has been far better received by the internet.
Now, let me be clear, I’m not trying to put down anyone’s talent or create a tyrannical campaign against nepo babies. But I can’t be the only one a little annoyed that every hot blonde now seems to be played by Sydney Sweeney, every brooding bad boy by Elordi and every quirky white man by Timothée Chalamet. I’m also not saying Hollywood should never use these actors, but that the film industry would benefit from seeing new faces in the rotation.
Relying on the same actors becomes predictable and audiences often struggle to connect with nepo babies. The average person can relate to Storrie, who, before “Heated Rivalry,” was “working at a restaurant 40 hours a week, getting off at 1 a.m.” We can root for people like him far more easily than someone like Lottie Moss, the sister of supermodel Kate Moss, who once tweeted, “I’m so sick of people blaming nepotism for why they aren’t rich and famous or successful. Obviously it’s not fair that people who come from famous families are getting a leg up because of that but guess what? Life isn’t fair.”
Roles should be awarded based on talent and suitability, not on last names or assumptions about which fan base will boost ticket sales. If a nepo baby or an established actor genuinely fits a role, they should absolutely book it. But casting directors shouldn’t feel compelled to default to the familiar or well-connected at the expense of new, raw talent that may be equally capable — or even more so.
We know taking a chance on talent works. We want to root for people like us. Rags-to-riches stories resonate with audiences because they offer the hope that hard work, talent and struggle can eventually lead to success. Marilyn Monroe spent her childhood in foster care and orphanages, Jim Carrey was homeless during his teen years, Harrison Ford was a self-taught carpenter before he took up acting, and Viola Davis grew up in “abject poverty and dysfunction.”
The question, then, is not whether unknown actors can bring success, but whether Hollywood still cares about discovering new talent. But if “Heated Rivalry” is any indication, investing in fresh faces isn’t just what audiences want to see. It’s also a proven formula for success.
Jordan Ori, a senior majoring in English, is Pipe Dream’s assistant opinions editor.
Views expressed in the opinions pages represent the opinions of the columnists. The only piece that represents the view of the Pipe Dream Editorial Board is the staff editorial.