‘F1’ and Done: When BIPOC actors get dropped before the finish line
Two films, same director, same result: BIPOC actors cut—why what happened to Simone Ashley and Manny Jacinto is a harmful pattern
Simone Ashley attends the "F1" movie European premiere at Cineworld Leicester Square.
Fred Duval / Shutterstock.com
Words by Daniel Anderson
First it was Top Gun: Maverick. Now it’s F1. At this point, director Joseph Kosinski’s editing room is starting to look less like a creative workspace and more like a trapdoor for people of color. Manny Jacinto first joined Top Gun: Maverick in 2018 and underwent real fighter jet training, not just crunches and craft services, only to appear in the final cut for a few brief moments, with no lines.
Fast forward to 2025, and Bridgerton star Simone Ashley has become the latest casualty—filmed for F1, only to be cut out almost entirely. No speaking lines, no meaningful arc, just a blink-and-you-miss-it cameo and some red carpet photos.
Yes, Jacinto’s role in Top Gun: Maverick was small. But small doesn’t mean insignificant—especially when you're the first actor of Filipino descent ever included in one of the most iconic American action franchises. He joined a cast that included fellow actors of color, including Raymond Lee and Kara Wang. All three? Cut. Not even a line survived the final edit.
On cutting Jacinto’s lines and onscreen time, Kosinski chalked it up to the usual industry cost of making blockbuster business. “You just don’t have room to fit everything in,” he told IndieWire. “It has nothing to do with their performance or their abilities at all.” In reference to F1 and Ashley, he told PEOPLE something similar: “It happens on every film, where you have to shoot more than you can use. There were two or three storylines that ultimately didn't make it into the final cut. But Simone, she's an incredible talent, incredible actress, incredible singer, and I would love to work with her again."
To their credit, both Jacinto and Ashley have handled the cuts with grace. Jacinto told GQ that his lack of screentime “wasn’t shocking to (him).” Still, he didn’t mince words about the dynamics at play. “It kind of fuels you, because at the end of the day, Tom Cruise is writing stories for Tom Cruise,” he said. “It’s up to us—Asian Americans, people of color—to be that [for ourselves]. We can’t wait for somebody else to do it. If we want bigger stories out there, we have to make them for ourselves.”
Ashley, similarly, struck a gracious tone. She revealed that she first met for F1 even before Bridgerton had aired, and acknowledged to ELLE that her role was limited: “I have a very small part, but I’m grateful to be in that movie.”
Of course, not every role makes it into the final cut. That’s the nature of filmmaking. But what stings is the double standard: actors of color are good enough for the casting announcements, the paparazzi shots, the press tours, and the trailer screen grabs, but not the narrative. Studios market their names, leverage their fandoms, and ride the wave of social media engagement, only to quietly sideline them in the finished product. That’s not representation. That’s tokenism with a PR budget.
At the time of their respective films’ releases, both Jacinto and Ashley weren’t just any supporting cast. Jacinto was beloved from The Good Place, with a passionate fanbase ready to root for his next big moment. Around the time of Top Gun Maverick’s release, fans were waiting with anticipation for Jacinto’s appearance in Star Wars: The Acolyte. Ashley was, and is, a Bridgerton breakout with enough cultural cachet to send any project trending. These weren’t unknowns. These were actors with built-in visibility and devoted followings. Their faces helped sell the films. Their characters, apparently, did not.
Numbers wise, F1 is sitting pretty with a global box office launch of $144 million. It is reportedly Apple’s most expensive film, costing an estimated $300 million. Sure some of the financial success of the film comes from stars like Brad Pitt, Javier Bardem and Lewis Hamilton, and the soundtrack includes cultural heavyweights like BLACKPINK’s Rosé. But let’s not pretend Ashley didn’t move the needle. She was out there doing the full promo circuit, smiling through press junkets and attending events. Yes, maybe it was part of a contractual obligation, but that’s also the point: she’s a draw. Her fanbase buys tickets. She led her own rom-com on Amazon, Picture This, which spent weeks atop the Prime chart.
Studios will argue that edits are part of the creative process. And they’re right. But if filmmakers want to be more transparent, here’s a simple fix: don’t spotlight actors in promotional cycles if their roles don’t actually exist in the final film. It’s misleading. It’s disrespectful. And it undermines the very inclusivity the industry claims to champion. Representation isn’t just about casting, it’s about follow-through. Because visibility without voice isn’t representation; it’s decoration.
Hey, at least we have Freakier Friday to look forward to. Jacinto is in it. Yes, we double checked. He’s in it. With lines. See you at the movies.
Published on July 3, 2025
Words by Daniel Anderson
Daniel Anderson is a disabled Chinese American adoptee based in Seattle. His freelance writing specialties include K-pop, entertainment, and food. He believes that any restaurant can be a buffet, and the key to success is to take a nap each day. Follow his adventures on Instagram @danzstan.