Yankovic is a real musician known for parodies and the accordion. However, the film intentionally portrays a fictionalized version – depicting him as brooding, rebellious, action hero, alcoholic – wildly diverging from his actual personality and life story for satire.

Madonna is a real pop star. However, the film's depiction of her having a passionate, destructive affair with Yankovic, pushing him towards danger, and connection to Escobar is entirely fictional and satirical. They never dated.

Dr. Demento is a real radio personality who was crucial in launching Yankovic's career by playing his early tapes (True). The film exaggerates his persona and the context of their interactions for comedic effect (Partly historic portrayal).

Al's father was real (True). His portrayal as violently opposed to the accordion and parody music, blaming it for industrial accidents, is a complete satirical fabrication (False portrayal). The real Nick Yankovic bought Al his first accordion.

Al's mother was real (True). Her portrayal as somewhat supportive but subservient to Nick's anti-accordion stance is part of the fictional family dynamic created for the film (False portrayal).

Escobar was a real drug lord. His entire involvement in the plot – being a devoted fan, kidnapping Madonna, being killed by Yankovic – is an absurd, completely fictional satirical element (False plot involvement).

Entirely fabricated for comedic effect, satirizing disapproving parent tropes in biopics. Al's real parents were supportive.

Completely fictional scene used to satirize the "moment of inspiration" trope.

Yankovic did record "My Bologna" (parody of "My Sharona") in a bathroom stall at college (True), but the specific circumstances and reaction depicted are exaggerated for comedy (Partly true context).

Yankovic did gain initial exposure by sending tapes to Dr. Demento's radio show, which Demento played.

Yankovic achieved significant success, but the film portrays his rise with satirical exaggeration, skipping nuances and depicting an unrealistic level of immediate rock-god status.

Yankovic is known primarily for parodies; the film reverses this, satirizing artists who "sell out," by pretending he was forced into parodies against his artistic desire to write originals.

Completely fabricated for satirical purposes. Yankovic and Madonna have never dated.

Yankovic conceived the idea for "Like a Surgeon" independently; Madonna did not suggest it to him as part of a manipulative relationship.

Fabricated storyline parodying the "rockstar meltdown" trope. Yankovic is famously clean-living (no drugs/alcohol) and controversy-averse in real life.

Entirely fictional, absurd action sequence created for the parody.

Completely fabricated ending satirizing tragic biopic conclusions. Yankovic is alive and well.

A direct reversal of reality for comedic effect, part of the satire on originality vs. parody.

The film's framing as a "true" story is part of the overarching satire of the biopic genre's often dubious claims to accuracy.

Visually represents the typical suburban setting of Yankovic's youth, fitting the era aesthetically, even if the events depicted are fictional.

Represents a typical college setting where Yankovic attended (Cal Poly, though not explicitly detailed).

Visually evokes the atmosphere of a quirky, independent radio show studio appropriate for the era.

Captures the visual style (fashion, decor) and general atmosphere associated with the music industry, concert venues, and awards shows during the peak of Yankovic's initial fame in the 1980s.

While the specific gathering is fictional, the setting visually represents the decadent party scene associated with music/comedy circles in the 70s/80s, populated by real (though anachronistic) figures.

This setting exists only within the film's fabricated action plot involving Pablo Escobar.

The film effectively uses costumes, hairstyles, cars, set design, and music cues to establish the visual and auditory feel of the relevant decades.

Visually represents typical recording studio environments of the era where Yankovic would have worked.