“Stories matter, and it’s time we tell our own.” This powerful statement from disabled actor Marissa Bode encapsulates the urgent need for authentic disability representation in media. Bode, who stars as Nessarose Thropp in the blockbuster film Wicked and its upcoming sequel Wicked: For Good, is not just breaking barriers on screen—she’s demanding systemic change in an industry that has long sidelined disabled voices. But here’s where it gets controversial: despite progress, the practice of “cripping up”—casting non-disabled actors in disabled roles—remains rampant. A startling study by the Ruderman Family Foundation reveals that only 21% of disabled characters on U.S. TV between 2016 and 2023 were portrayed by disabled actors. Bode’s casting as Nessarose, a wheelchair user, marked a historic first, challenging decades of able-bodied actors playing the role since the stage version debuted in 2003. And this is the part most people miss: Bode isn’t just advocating for disabled actors in disabled roles—she’s urging casting directors to include disabled performers in any role, regardless of the character’s physical abilities. Her experience on set, supported by disability coordinator Chantelle Nassari, highlights the transformative impact of accessibility, yet her journey hasn’t been without hurdles. After the first Wicked film’s release in 2024, Bode faced harsh online criticism, with some targeting her character’s disability. Her TikTok response was both poignant and unapologetic: “Disability isn’t fiction—it’s real life.” As Wicked: For Good approaches, Bode braces for potential backlash but remains hopeful audiences will embrace Nessarose’s complexity. A key change in the film—altering a scene where Nessarose gains the ability to float instead of walk—underscores a shift away from ableist narratives. “Disabled characters deserve to be more than one-dimensional,” Bode asserts, challenging the cycle of stigma surrounding disability. Honored with the Christopher Reeve acting award, Bode continues to advocate for education and empathy in the industry. She credits disabled creators like Crutches and Spice, Aariana Rose Phillip, and Aubrey Smalls for inspiring her activism. Looking ahead, Bode envisions a future where disabled artists lead the storytelling. “We need to tell our own stories,” she insists, calling on producers to hire disabled talent across all roles. Here’s the question that lingers: Will the industry listen, or will it continue to sideline the very voices it claims to amplify? Let’s discuss—what’s your take on disability representation in media today?
