Muslim Characters fit a Narrow Prototype in Popular Series
Muslim Characters fit a Narrow Prototype in Popular Series
The few Muslims who did appear in popular storytelling embodied a limited profile. More than twothirds (69.4%) of Muslim characters were male, and roughly half (52%) were Middle Eastern/North African (MENA). These findings reflected the trends identified in popular films. Compared to top movies, however, in top series, there was a greater proportion of Asian Muslim characters. Gains for Black Muslim characters in series were small, and one Hispanic/Latino Muslim character was noted. The 21 increased diversity in representation of Muslim characters in top series was a welcome change from film. However, the similar emphasis on MENA Muslim characters in popular series reinforces an ethnic stereotype about Muslims that may have real-world ramifications for individuals from this identity group. The nature of portrayals on screen may foster assumptions about the religious or political beliefs of those who identify as MENA and may even influence how people from this background are treated. In addition to gender and race/ethnicity, other indicators reflected a lack of variability in how Muslim characters were presented on screen. Only 1 Muslim character was part of the LGBTQ community, and no Muslim characters were shown with a disability. Moreover, nearly half of Muslims were young adults (21-39 years old), while there were only 2 elderly characters and no Muslim children age 0 to 5. This narrow bandwidth of opportunities is problematic in two ways. One, it presents Muslims as a homogenous group, a denial of the reality that Muslims include people across the age span, those living with disabilities, and even those who identify as LGBTQ. Second, it limits the roles and work available to Muslims who hope to portray their faith on screen. The lack of older Muslim characters means that actors from this identity group may not find work across the life span, creating a barrier to sustainable careers, ongoing employment and even ability to access U.S. health insurance. From the qualitative analysis, it was also clear that Muslims characters were generally portrayed as “foreign,” in line with longstanding stereotypes present in entertainment.30 Muslims were depicted as residents of countries outside the U.S., U.K., Australia, or New Zealand. The immigrant or visitor status of Muslims who did appear in these countries was also emphasized through language or direct reference. These findings were, again, similar to those found in top films from the same countries. The overall impression across both film and series was that Muslims are from or live in “other” places. This offers little opportunity for viewers to see Muslims reflected in their communities and as neighbors and co-workers on screen.
The few Muslims who did appear in popular storytelling embodied a limited profile. More than twothirds (69.4%) of Muslim characters were male, and roughly half (52%) were Middle Eastern/North African (MENA). These findings reflected the trends identified in popular films. Compared to top movies, however, in top series, there was a greater proportion of Asian Muslim characters. Gains for Black Muslim characters in series were small, and one Hispanic/Latino Muslim character was noted. The 21 increased diversity in representation of Muslim characters in top series was a welcome change from film. However, the similar emphasis on MENA Muslim characters in popular series reinforces an ethnic stereotype about Muslims that may have real-world ramifications for individuals from this identity group. The nature of portrayals on screen may foster assumptions about the religious or political beliefs of those who identify as MENA and may even influence how people from this background are treated. In addition to gender and race/ethnicity, other indicators reflected a lack of variability in how Muslim characters were presented on screen. Only 1 Muslim character was part of the LGBTQ community, and no Muslim characters were shown with a disability. Moreover, nearly half of Muslims were young adults (21-39 years old), while there were only 2 elderly characters and no Muslim children age 0 to 5. This narrow bandwidth of opportunities is problematic in two ways. One, it presents Muslims as a homogenous group, a denial of the reality that Muslims include people across the age span, those living with disabilities, and even those who identify as LGBTQ. Second, it limits the roles and work available to Muslims who hope to portray their faith on screen. The lack of older Muslim characters means that actors from this identity group may not find work across the life span, creating a barrier to sustainable careers, ongoing employment and even ability to access U.S. health insurance. From the qualitative analysis, it was also clear that Muslims characters were generally portrayed as “foreign,” in line with longstanding stereotypes present in entertainment.30 Muslims were depicted as residents of countries outside the U.S., U.K., Australia, or New Zealand. The immigrant or visitor status of Muslims who did appear in these countries was also emphasized through language or direct reference. These findings were, again, similar to those found in top films from the same countries. The overall impression across both film and series was that Muslims are from or live in “other” places. This offers little opportunity for viewers to see Muslims reflected in their communities and as neighbors and co-workers on screen.
