One day, I was minding my own business and reading the news when I came across an article about the positive side effects of being unattractive. Having recently written about the pretty privilege phenomenon, I thought: ‘Wait, there’s ugly privilege now?!’ Yes, apparently there is.
Ugly Privilege in Film
Ugly privilege, a term coined on TikTok, is not intended to be rude or demeaning to those it describes. It simply refers to the potential benefits of not having stereotypically attractive features. Whilst research indicates that pretty privilege can boost a worker’s employment opportunities, in certain industries, it can have the opposite effect. Ugly privilege is particularly prevalent in the entertainment sector. Take acting, for example:
‘When meaty roles come through, I’ve been in the room and pretty people get turned away first,’ says actress and producer Charlize Theron.
Conventionally attractive actors are often forced into one-dimensional roles, from the Hollywood hunk to the hyper-sexualised love interest. Think Megan Fox in Jennifer’s Body or Margot Robbie in Suicide Squad. Both of these women were cast in the female bombshell role primarily for their good looks. Their acting skills were arguably a secondary consideration.
When DC’s Suicide Squad was released in 2016, fans were quick to point out that Robbie’s character Harley Quinn was merely ‘sexualised eye candy’ who was ‘objectified’ throughout the film. One year later, the then 27-year-old Robbie went on to secure more challenging, multifaceted roles, transforming into Tonya Harding, an infamous ice skater who was abused by her partner, and Elizabeth I, who vied for the throne of England. With her beauty warped by unflattering makeup, prosthetics and bald caps, critics began focusing on Robbie’s performance skills, which led to her first BAFTA, Golden Globe and Academy Award nominations. But Robbie’s career journey is somewhat of an anomaly.
To this day, pretty actresses like up-and-comer Sydney Sweeney are forced to prove that they are just as capable as their colleagues. Last year, the 26-year-old announced she was playing the role of a plain Jane ex-intelligence specialist in the film Reality, a far cry from her previous role as a glammed-up teenager, Cassie, in Euphoria. Soon, her social media was flooded with fans commending her for her ‘versatility’ and ‘dedication as a professional actress.’ But the praise was backhanded. Sweeney is the same actress she has always been, but being devoid of her usual beauty encouraged her fans to claim that her acting had vastly improved. The case demonstrates how attractive actors struggle to get noticed or taken seriously.
Typecasting
Other professionals suffer an even worse fate, known as typecasting. This is when actors repeatedly play the same style of character, like ‘the hero’ or ‘the girl next door,’ often for their entire career. In pressuring attractive actors to take on uninspiring roles, casting directors put them at more of a disadvantage compared to their less attractive peers, who have greater creative freedom and a higher chance of landing meatier, potentially award-winning, parts. But there are some benefits to being typecast:
‘Becoming typecast is actually one of the quickest ways to build a name for oneself as an actor because it’s much easier to get consistent work,’ says Martin Bentsen, an acting marketing consultant. ‘But […] it’s difficult for the actor to grow and try new things.’
Typecasting attractive performers means they aren’t given equal opportunities to explore their range and hone their craft, which can severely stunt their professional development. Just think about all the incredible — often award-winning — performances from actors who were cast in roles that weren’t typical for them. Michelle Yeoh wouldn’t have moved on from kung fu movies and won an Oscar for her starring role in Everything Everywhere All At Once. Ryan Gosling and Chris Evans wouldn’t be playing three-dimensional roles in films like The Gray Man and Gifted. And we would never have witnessed the late Heath Ledger’s iconic performance as the Joker. The prevalence of ugly privilege within the film industry leads to a lack of variety for cinemagoers and means that attractive actors never get to unlock their full potential.
The Music Industry’s Rebellion
But elsewhere in the entertainment sector, things look more promising. Consider the singers who are currently dominating the charts. They aren’t your typical pretty ‘pop girlies.’ Take 22-year-old Billie Eilish who has become synonymous with her unfeminine approach to fashion, often wearing minimal makeup and baggy clothing. Charli XCX’s brat aesthetic, which is taking the world by storm, is described as ‘ugly chic.’ And this summer’s rising star, Chappell Roan, dons makeup inspired by theatre and drag culture — not by mainstream beauty trends. By recent indicators, the music industry is more accepting of singers who don’t fit the ‘perfect’ pop star mould. It even positively revels in the so-called ugliness.
The staggering popularity of these aforementioned artists has led to the rise of the Ugly Girl Summer trend, characterised by celebrities having unkempt hair, wearing ugly pieces of clothing and styling purposefully uncoordinated outfits. A few years ago, in the highly manicured world of music stardom, this would never have been acceptable. But now, powerful artists are using their influence to rebel against the status quo and prove that they don’t need to appeal to the male gaze to be successful. And listeners love them for it. This is likely why Eilish, Charli and Roan have 157 million monthly listeners combined. Their commercial success is proof that the industry is moving away from its idolisation of beautiful artists and acknowledging that raw talent and relatable lyrics best attract listeners.
While the music industry is finally accepting of, and actively promoting, the work of highly successful artists who are not stereotypically attractive, the film sector continues to categorise actors and certain film roles strictly according to looks, rather than talent. This is to its detriment. Ugly privilege and typecasting stifle the industry’s creativity and thwart actors’ potential, sending the wrong message to young audiences.
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