The film “Michael” directed by Antoine Fuqua, will hit cinemas this weekend.

With Hollywood continuing to produce and release films about nearly every classic rock star and prominent hip-hop artist, the question arises: which figures will ultimately be left to tell the stories of?

By: Christian Zilko

According to the CinemaDrame News Agency, when the film “Michael,” directed by Antoine Fuqua, hits cinemas this weekend, it marks the end of a long journey toward theatrical release—or perhaps more accurately, the end of the beginning. Because it seems sequels may already be on the way, whether audiences want them or not.

The Michael Jackson biopic faced a series of production issues (many of them self-inflicted), but it is finally ready to be shown to audiences nostalgic for 1980s pop. For devoted fans of Michael Jackson, the film offers a chance to revisit beloved songs and take another look at the life of an exceptionally complex artist. But for those already fatigued by musical biopics, it may feel like more of the same.

Over the past decade, films have been made about Elvis Presley, Elton John, Bruce Springsteen, Bob Dylan, Queen, Bob Marley, Amy Winehouse, Whitney Houston, Aretha Franklin, Robbie Williams, and even “Weird Al” Yankovic—and now it is Michael Jackson’s turn. And the trend is far from over.

In 2028, Sony plans to release four Beatles films directed by Sam Mendes (one for each band member). Meanwhile, Universal has announced a Snoop Dogg biopic at CinemaCon. These projects come in addition to others without confirmed start dates, such as Ridley Scott’s Bee Gees film “You Should Be Dancing,” or Cameron Crowe’s long-developing Joni Mitchell project, which may or may not star Meryl Streep. Martin Scorsese has also recently been linked to projects about Jerry Garcia and Frank Sinatra.

All of this raises a question: when will this trend stop?

Hollywood studios have never been fond of leaving audiences waiting, and these films seem likely to continue as long as there is demand—and possibly even five years beyond that. Despite growing online fatigue among film fans, demand remains strong. Not all of these films are hits, but when titles like “A Complete Unknown” gross $140 million worldwide or “Elvis” reaches $288 million, studios are naturally encouraged to keep going.

But it is not only demand at play—it is also supply. Films about major rock, pop, and rap stars of the 20th century are being produced at such a pace that the pool of obvious subjects appears to be shrinking. If you asked the average person to name ten of the biggest musical acts of the past 50 years, you could likely turn eight or nine of those answers into films. There are still remaining subjects (a Rolling Stones biopic seems inevitable), but the list is narrowing, and unlike comic books or video games, this kind of intellectual property is not easily recycled. Still, Hollywood usually finds a way.

Perhaps musicians, like superheroes, will become a source of endlessly exploitable cinematic material. In recent years, the genre has already shifted away from full cradle-to-grave narratives toward focused snapshots of artists’ lives. For example, “A Complete Unknown” centers on Bob Dylan’s controversial transition from folk to rock at the 1966 Newport performance, while “Springsteen: Deliver Me from Nowhere” focuses solely on the recording of the “Nebraska” album.

This narrower focus has artistic advantages, but plenty of stories remain to be told. The next stage of the biopic trend may involve multi-film contracts with actors portraying the same musician over several years. Sony’s four Beatles films will be a key test of this idea.

There is also the possibility that the era of these films will move beyond the traditional decades of focus and into the 1990s and 2000s much sooner than expected. If demand is strong enough, biopics about Taylor Swift or Beyoncé could emerge while they are still actively shaping their careers. Artists themselves may also take a more active role in telling their own stories. Taylor Swift has long expressed interest in directing—who better to make a film about her own life, potentially breaking box office records?

Despite fatigue surrounding the trend, it is unlikely that production will slow down. Much like American football and major video games, these films represent one of the last shared cultural touchpoints. Our collective memory of artists from the past five decades remains stronger than many new works, and even lesser-known names can attract attention that entirely original ideas often cannot.

In the end, all of these predictions may prove meaningless. Perhaps in 2035, people will still be discussing new biopics about artists like Eddie Money or Peaches & Herb—even if that seems difficult to imagine today.