Sam Mendes Beatles Biopics is aimed at the casseref’s success with Paul Mescal, Harris Dickinson, Barry Keoghan and Joseph Quinn as The Fab Four.

The Fab Four came on stage this week to an all-star Beatles announcement that passed out part of the Internet.

No, Paul McCartney, John Lennon, George Harrison and Ringo Starr not unite through AI for a common album with Taylor Swift.

Instead, the 60s rock ‘n’ roll icons is played by four leading heartbreakers of the moment: Paul Mescal (McCartney), Harris Dickinson (Lennon), Joseph Quinn (Harrison) and Barry Keoghan (rigid), in a great four -rilogy staged by Sir Sam Mendes – all for publication in 2028.

Every actor fits the form of the “friends of the Internet” – a term Defined by Glamor Magazine as “a famous or semi-famous male person in whom her entire Twitter feed has a crush on”.

When Sir Sam went on stage with his “band” in Las Vegas Cinemacon on Tuesday, the news was clear.

When Beatlemania from the 1960s were defined by young girls who passed out and scream, it is able to bring gene Z – use in the Internet – “scream, cry, get upset behind their phone screens.

“Each star brings its own brand of modern hysteria,” says Lisa McLoughlin, the celebrity reporter of the Evening Standard, “the way that is driven by social media virality and fan video changes”.

This applies in particular to Mescal, the “popularity of the Beatles reflects”.

After the IRE in the BBC adjustment of the BBC adjustment of the normal in the 2020s shot fame, he achieved an Oscar nomination as a tortured father in Aftersun before he was in Gladiator II.

The same applies to the Irish Keoghan. Oscar-nominated for Banshees from Inisherin, he recorded a robust sex symbol status in last year’s cult hit Saltburn.

Dickinson and Quinn are used in their trajectory, but still burn brightly – the former with Nicole Kidman in the Erotic Thriller -Babygirl and the latter turn their heads in Netflix’s strangers.

McLoughlin describes the casting as “logical and predictable” – A strategic step when the band wants to secure its legacy with a new generation, while studios with ambition, streaming era, after the cowid and the audience to secure not only once, but four times in the immediate vicinity.

The timing and the scope of the project summarizes the unique legacy of the Beatles as the best-selling band of all time The catalyst for the shift in youth culture and the limits of pop.

It has been 56 years since all four members were last recorded together. Lennon was shot a little more than a decade later at 40, while Harrison died of cancer at the age of 58. The two survivors Beatles, Sir Paul and Sir Ringo, are now in the 80s.

And yet, as the only official biographer of the band Hunter Davies said on Wednesday Radio 4’s program: “The strange thing about the Beatles is that the longer we come from them, the bigger they get.”

In recent years, Sir Paul has apparently worked on booking the music of the Beatles – becoming Glastonbury’s oldest headliner at the age of 80 before rebuilding Nowe and then Lennon’s demo vocals. It became the band’s 18th British number -1 single over five decades after her last and won a Grammy.

The upcoming biopics seem to be a way to continue this on the large screen.

Four years later by Peter Jackson’s extensive documents, these are the first time that all four band members and their lands have given a complete life story and musical rights for a script.

The casting reflects the different identities and stories of the members, each of which offers something other than lovelorn girls and imitators who are so intoxicated by Beatlemania.

McLoughlin feels that the decisions are “commercially useful” than the perfect film for an audience who have now been removed from the original Beatlemania.

“They all have younger fan base (many of which may not be regular cinemas or are deeply connected to the Beatles) who act credibility and experience conductive or common production with the head of lines.”

Each film focuses on a single member of the band. “They cross in different ways – sometimes overlapping, sometimes not,” said Sir Sam.

“They are four very different people. Maybe this is an opportunity to understand them a little deeper.”

The Benhheimer Phenmenon In the summer of 2023, the increasing influence on the online audience reactions on the cultural currency.

Hollywood’s acceptance of “Event Cinema” was also a way to attract younger audiences. A generation that Warner Bros Discovery’s Executive Director Vera Chien Previously said ForbesAlready see the relationship between streaming social media as a norm.

Sir Sam’s four-film time plan of the four-film corresponds to this. It aimed to create what the Sony manager Tom Rothman described as “the first bingtable theater experience”.

“To be honest, we need big cinematic events to get people out of the house,” said Sir Sam.

Films can now develop Different digital identities by audience projectLike the viral success of Saltburn.

The makers of the Beatles Biopics rely on the occupation of “Internet Friends” that pull the younger audience – without the same nostalgic appendix to the Beatles – and on social media and, who hope to read on a large screen from the telephone screen.

The extent to which musical achievements are presented is unknown.

However, the Beatle biopics could use the booming money spinning genre that has become successful in the past ten years. .

It has also been proven that the fertile heartbreaking square, which Beatles poured, in addition to Timothet Chalamets Oscar-nominated Oscar-nominated Oscar-nominated ingestion as Bob Dylan in a complete unknown manner according to Jacob Elordi and Austin Butler as Elvis.

Nevertheless, there are risks, says Dade Hayes, business author at Deadline and co-author of the Binge Times.

He says that he praises Rothman’s “clever grip” and the cinephile in him the “bold statement of the biopics about the value of cinemas and municipal view”, the market deals are comfortable.

First, the health insurers in Great Britain has not yet fully bounced off the pandemic while US income is more than 20% below the pre-Kovid values. “If people don’t want to return to the cinemas at regular intervals,” says Hayes, “keep an expensive series of assets that are difficult to monetize.”

And a multi-quality strategy of multi-release is based on the “security that is illuminated with the first edition,” says Hayes.

He refers to Kevin Costner’s Horizon films, which is originally intended as a multi-part theater franchise franchise, just to accelerate as soon as the first episode was refueled as an example of the dangers.

For McLoughlin, the three-year gap between the Casting announcement and the publication date of 2028 is another risk, especially in the fast-moving online area in which fan bases can shift.

But beyond industrial dynamics there is also an occupation topic that approaches much closer to home.

The Beatles Biopics, who celebrate four Scouse boys who conquered the world and put Liverpool on the map, will not have local talents in the leading roles.

Like a Liverpudlian expressed it In a Tikok video I liked over 200,000 times: “I love Mescal as well as the next girl, but (the lack of representation) my heart breaks.”

McLoughlin agrees and points out that James Corden asked the TV industry last week to be “braver” and back ideas that “could scare you a little”. She believes that film studios should do the same.

“The Beatles themselves were unknown until they were not,” she says. “This could have been a chance for a newcomer to have her own Beatles moment – to get out of the dark in real time.”

And maybe the biggest missed opportunity from all McLoughlin that the Liverpudlian actors and the center in a Beatles -Biopic are not the focus. “The band is Liverpool’s largest cultural export, but the city’s deep talent pool has been completely overlooked,” she adds.

In the meantime, social media has already been considering Keoghan’s ability to deliver a consistent Scouse accent, and questions his attempts in Saltburn.

Nevertheless, as Hunter Davies put it, the Beatles had been more than just a local band for a long time. They continue to grow.

As early as 1966, Lennon described her famous than greater than Jesus. Over five decades later, the studio is undoubtedly a revival of Beatlemania behind the four films – and perhaps in general in general.