MUSLIM CHARACTERS ARE DISPARAGED BY OTHERS 
Words and phrases used to disparage 98 Muslim characters...
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MUSLIM CHARACTERS HOLD A LIMITED ARRAY OF OCCUPATIONS 
Percentage of Muslim characters shown with a profession and the nature of the occupation...
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MUSLIM CHARACTERS ARE CUT OUT OF COMEDY SERIES 
Muslim characters and series genre across 200 series, 2018-2019 view all

MUSLIM CHARACTERS ARE LINKED TO VIOLENCE Percentage of Muslim characters involved with violence
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MUSLIM REPRESENTATION BY YEAR 
Number and percentage of Muslim characters by year
 

MUSLIM CHARACTERS ARE OFTEN SHOWN AS ‘FOREIGNERS’ 
Percentage of Muslim characters by story setting
 
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MUSLIM CHARACTERS ARE RACIALLY PROFILED IN SERIES 
Race/ethnicity of Muslim characters across 200 series, 2018-2019
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MUSLIM CHARACTERS FACE AN EPIDEMIC OF INVISIBILITY ON SCREEN 
Number and percentage of 200 series missing Muslim characters, 2018-2019
 
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MUSLIM GIRLS & WOMEN REMAIN UNDERREPRESENTED ON SCREEN 
Percentage of Muslim female characters across 200 popular films by country, 2018-2019
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MUSLIM CHARACTERS ARE MISSING IN POPULAR EPISODIC SERIES
 
 Percentage of Muslim characters across 200 popular series, 2018-2019
  
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Muslim Narratives Still Centered on Terrorism & Extremism
Across the qualitative analysis, there were several elements observed that point to a prevailing narrative in popular television series when it comes to Muslim characters. That focus was undeniably on terrorism and extremism. Muslim characters were most likely to have jobs as criminals (37.2%) and almost onethird (30.6%) of Muslims were shown as perpetrators of violence. Taken together, these findings demonstrate that popular series not only presented individual Muslim characters as linked to terrorism, but that storytellers actively created and disseminated entire storylines focused on terrorist activities.

The majority of Muslim characters in the sample appeared across three series in particular: Tom Clancy’s Jack Ryan, Our Girl, and Next of Kin. The storylines in these programs all centered around issues of extremism or terrorism. These series told the story of a CIA analyst who uncovered a terrorist cell and the process of investigating the activities of the major players. Another centered on a British military unit training Nigerian forces to fight Boko Haram militants and rescue kidnapped girls. The final series revolved around the disruption experienced by a Pakistani family living in London when their lives intersected with the activities of a terrorist group in Pakistan. 
 
In other words, whether told from the perspectives of U.S. or U.K. law enforcement or when centered on Muslim characters, storylines were
still linked inextricably to extremism. As we noted in our prior study on film, the continual emphasis on violence and extremism can have
profound negative consequences for Muslims. The justified violence against Muslims and the 22 presentation of this community as antagonistic to the West may serve to sanction real-world aggression towards Muslims. Evidence suggests that these factors may facilitate both learning of aggression as well as desensitization among viewers.31 Indeed, Muslims on screen were also likely to be shown as victims of violence. When Muslim characters died, they perished violently. Whether at a national level or in terms of interpersonal interactions, the continual representation of Muslims as violent and dangerous is one that can have devastating outcomes for individual Muslims both in the U.S., U.K., Australia, and
New Zealand, and to those living around the globe. view all

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.  view all

A new report released by the Annenberg Inclusion Initiative investigates the portrayal of Muslim characters in TV, revealing that not only are Muslims nearly absent from episodic content, but they are still stereotyped in negative ways.
 
 
]Full Report here[/url]
 
A new report released by the Annenberg Inclusion Initiative investigates the portrayal of Muslim characters in TV, revealing that not only are Muslims nearly absent from episodic content, but they are still stereotyped in negative ways.

The report, titled “Erased or Extremists: The Stereotypical View of Muslims in Popular Episodic Series” comes from Dr. Stacy L. Smith and the USC Annenberg Inclusion Initiative, with support from Academy Award winner Riz Ahmed and his production company Left Handed Films, the Ford Foundation and Pillars Fund.

The 2022 study explores quantitative and qualitative aspects of Muslim representation in 200 top-rated television shows from 2018 and 2019 aired in the U.S., U.K., Australia, and New Zealand, ultimately highlighting a disheartening reality. The full report is available here.

In 2021, Variety exclusively unveiled the coalition’s plans to address this issue head on with the creation of The Blueprint for Muslim Inclusion, which outlines recommendations to the industry on how to support Muslim storytellers and increase representation.

In the column below, researchers Al-Baab Khan, Dr. Smith, & Dr. Katherine Pieper detail their findings and explain how the industry can enact meaningful change, because, as they write, “the way that Muslims are portrayed onscreen and their absence behind the camera is no laughing matter.”

Today, we are borrowing a line from Christopher Hitchens. Followers of Islam are not only lacking comedic chops, but they are not members of the LGBTQ+ community, they rarely have romantic relationships, and they are without disabilities. Did you know that 70% of Muslims globally are men (which, should lead to a population crisis, right?).

While none of this is true, it would be your reality if you watched episodic television or streaming content in the U.S., U.K., Australia or New Zealand and were learning about characters with this faith-based orientation. Yep, you guessed it. We released another study (underscore another), and the view of Muslims is wildly inaccurate.

Muslims represent 1% of all characters (8,885) across 200 popular TV shows in four countries — and less than one-tenth of 1% of all characters were in comedy series (a total of five characters). To add insult to injury, Muslims are too often shown as perpetrators or targets of violence, and more than 30% are part of extremist groups. These stereotypes have been perpetuated for decades, and these egregious tropes can contribute to aggression toward, and fear of, this community.

These results are not a surprise. But we have to ask why they keep occurring. We examined the identity of 6,117 writers, directors and producers across the 128 U.S. shows in our sample.* Less than 1% were Muslim. In fact, there were only five Muslims who worked a total of eight times. Three were Asian women, and one was an Asian man. Only one Muslim worked as a director: a Black and Middle Eastern/North African woman. In other words, you might see more Muslims at your local bar during happy hour than you would behind the camera in TV.

Is film any better? Nope. Across 1,500 top-grossing films from 2007 to 2021, there were only 12 (11 men, one woman) Muslims that worked as directors, writers or producers. The only Muslim woman to work in top-grossing films over the last 15 years was the same Muslim woman who worked as a director in our TV sample. That means only one Muslim woman director worked across 1,500 top-grossing films and 128 popular scripted series. We’ll say it again: One. Muslim. Woman. Director.

And this is “woke” Hollywood.

If nothing you’ve read has been a surprise so far, maybe this will be: change is easy. It’s decision-makers who have somehow made it hard. Change starts behind the camera in two ways. First, people creating content have to come from more than just one community or identity group. When this happens, what we see onscreen is different. We have a great deal of evidence to support this. So we need more writers, directors and producers (and composers, and gaffers, and all manner of other positions…) who are Muslim. We need philanthropists and artist programs to support the development of new Muslim storytellers and the careers of those who are already working. What’s more, these creatives must be given space to tell a variety of stories about their community and not just funding to repackage old tropes that are familiar to non-Muslim executives and audiences with a limited worldview.

Second, we need casting directors to evolve. There are thousands of characters who appear on our screens every year. Casting directors put many of them there, but somehow, Muslims are almost always depicted in the same light. It’s time to expand that view. Muslims can be funny. Muslims can be serious. Muslims can surf. They can be veterinarians. They can shop at grocery stores, and go to public parks, and ride on buses, and live next door and work in the next cubicle. And if that’s not enough, Muslims are not only Middle Eastern/North African, as our data would suggest. Muslims can be Indonesian, Filipino, Nigerian, Eastern European, Hispanic/Latino, Black, and yes, even American. What they don’t need to be any more is shown as suicide bombers, carrying weapons and dying violently.

We need to see Muslims at the center of stories. We’ve seen this recently with “Ramy,” “Ms. Marvel” and “We are Lady Parts.” These shows made it to our screens because agents and managers promoted Muslim talent, and because executives saw the value of these narratives. We need agents, managers and executives to continue to see that stories about Muslims have an audience. But getting a green light from the top isn’t the only thing stories centered on Muslims need. Stories about Muslims need marketing and advertising that is on par with what stories with white men at the center receive. They need critics from the community to review them. And, most importantly, they need to last. We’ve seen this happen — series that center on diverse communities are made, they reach audiences… and then they are canceled after one season. Muslim stories, like Muslim characters, cannot be killed off en masse.

The way that Muslims are portrayed onscreen, and their absence behind the camera, is no laughing matter. But the joke is really on Hollywood. After all, how much longer can an industry that dehumanizes, disparages and demonizes 25% of the world’s population sustain itself in that same global marketplace? It can’t.

*The authors would like to thank Dr. Rene Weber and Musa Malik at UCSB Media Neuroscience Lab for assistance with the behind the camera TV and film Muslim data analysis. For behind-the-camera information, Muslim identity was determined through a variety of methods, but only those individuals with publicly available information on their faith were included as Muslim. On screen data comes from reports supported by Ford Foundation, Pillars Fund, Riz Ahmed and Left Handed Films.
 
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