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when do you think that you are, can be off russian gas. we listen or, and i have seen and played football with these refugees. i look at them and they're happy smiling. we meet with global news makers. i'm talk about the stories that matter on al jazeera. i thought when was the last time that you saw a visibly muslim, tied to either on film on a tv show that depending on where in the world you live, it might take you quite some time to come up with that answer. there are almost 2000000000 muslims in the well, but you wouldn't know it from watching play what but actions. say today on the stream we are looking at what would it take to boost muslim representation in film? let me give you an example. let me introduce you to nadia. nadia 20 to 30 years old isis terrorist. so school sexy

phoebe must wear had scarf and have middle eastern eyebrows. we keep playing these stereotypes, but hollywood love stereotype. yeah. and it's wrong girl. you're in the wrong business. if you're going to get, all right, you know, look of what's happening in our country right now. you know, like, it is crazy out here. i'm leaving a text with a well, i think she just sat down. but me. oh, if characters light nadia, a part of the problem, what's the solution you're about to meet 3 guests who have the ideas a concrete and doable hello to ca, sheaf hello so odd and hello, janice sound nice to have you on the street. can she?

can you introduce yourself to our international audience? tell them what you do and who you are. course. thank you so much for having me. my name is kasha shake. i'm the co founder and the president of the pillars fund. get to have you. so i welcome back to the stream. lovely to see you again. remind our audience who you are. i'm what you do. great to see you to. i'm a scholar artist, an active, i run samples where and i want to wait to watch tv. oh, well, it isn't very handy for us today. thank you so much. and is it gena? no, is it nadia or is a l who can tell the creator? oh, that little web series that we stay do a little cripple. we can hear so much more about it. jenna. welcome to the screen. tell everybody who you are. what you do. thank you so much. hello, i'm jenna mahoney, boscoe. i'm a writer actress and a filmmaker and my tv comedy pilot leave. the liberty was just selected for the pillars fund and the blacklist muslim list. so i'm really excited to be here and to be talking about my favorite thing. tv. uh huh. all right,

very good and audience. i know you love tv because you're watching right now. if you have a comment or question for a for i guess about representation of muslims in phil, here you go. comment section is waiting for you. be part of today's show caution. i have to start with you because your organization came up with a study to really track in the u. s. u. k, australia, new zealand. major films, big, big, big films, representation of muslims. and the results were expected, but still shocking. tell us more. yeah, it was, it was definitely expected. so we did this research project with the ford foundation and the annenberg inclusion center at the university of southern california. and the actor resentment, and really the purpose of the study was because there was no real data on what representation and muslims looked like on film and television. and while we expected the results to not be good, i think we were still really dismayed. and in some facets,

really shocked by what we saw the we expected that the representation of muslims on film and television would be abysmal. but we didn't expect it to be as completely erased. and that the nuance then the diversity of muslims to be completely erased from popular culture. so i think that for us, it was a really, it was, it was a really difficult thing to see because once a result started to come out, we really started to understand why and how these attitudes towards muslims around the world we're starting to shape. because as we know, popular culture of film and television don't just confirmed by it is and sometimes they create viruses. and so this data was really, really instrumental for us to recognize. and also the data was important for us to then show hollywood and say, there is a real problem here. we need to change this. and the numbers absolutely confirm it . i think it kind of really confirms a lot of muslims knew growing up, which was representation,

has always been really terrible of muslims. but when now with the hard data in front of us, we could actually start to move hollywood studios, film studio, and someone like resentment who is but his star power behind this, i think were incredibly excited about what could come. but the results were definitely incredibly disheartening. so i picked up. yeah, i mean, i think it's funny, it's like, i was a little less surprised. it's kind of like water is wet, you know, good news not. and especially, you know, as a black person, you know, as a bad person in general, right. i know hollywood runs right we're, we're never there in our complexity and as a black muslim the same thing. right. and i think, you know, that, like he said abysmal, right, for muslims in general and even more so for muslims who are african, does that right? i think with the muslim black muslims, sometimes they show up right in a hollywood film on sometimes like trader those kind of films. right. where they're kind of a bit of a terrorist. but we're not really sure. or they'll be like in black films or black

media and they'll be this kind of, you know, kind of militant person, right? kind of like that type of thing, but not, but not the full range, right? not folks from all parts of the country, all parts of the world end up in new as who are black. and so i was pretty like, yeah, again with that word wet, you know, but you know, one of the things we know we need is you do do the data, right? because my folks are going to be like, but what about this? i thought this one thing one time over the years ago. oh you're tough janet. you already knew this because you are making comedy hours. i lack of representation . i lack of reputation, but they tell stereotypes in trumps. yeah, absolutely. i mean, i, i can speak on behalf of be in my artist community or my go tell us something we don't know. you know, it's, it's disheartening to see the, the facts and figures. i mean, we knew we know they're terrible because we read, we read scripts all the time. we audition all the time. we know. but also i'm very

hopeful i'm hopeful because of my community. i'm hopeful because we are creating so many incredible new stories and authentic storytelling is really what i'm passionate about. and what hollywood seems to have kept him too now. and yeah, i mean, there is, there are so many more stories and more communities that we need to tap into, especially within muslims, in general. i mean, it's a massive community and, and we, we're just, we haven't even scratched the surface yet. but if there was one start that really brought home why representation is so important? how many, how many kids shows have muslim representation in them? a muslim in them or, or an animation with a muslim in them in the hall of north america. how, how many kid shows that would be 01? no, none. that's outrageous. i would have said there's probably one maybe on i don't know,

sesame street or whatever, but none. no, no, i think that you're right there. there was a lot that came out of this study that was disheartening and that we sort of knew. but when you have something like that, we've seen the importance of telling of animation and kid television shows in sort of helping shape children. i have nieces and nephews and i've watched mo honor about like a 1000 times point, you know, and so you can see the important that these depictions have on the psyche of children and the fact that there were absolutely none was incredibly disheartening . it's also really scary and i think that those types of the testing i think were really important to pull out from the study to be able to then hold for because i think you're right is that i would have, i wouldn't have get 0. yeah. but the fact that it is 0, we have a real,

real big problem that you know? yes. so as you go 1st and then i will make our med wait for you to finish. what is the point? you know, it's interesting how we think of time. things get better, you know, as you go forward, actually, i've been to the archives recently, and there was an episode of the show that used to be on the cartoon network called the proud family. and there was the most recent agent in that right. and this is probably in the ninety's or something like that. but i think the point here is that it wasn't great though. so it was full a problem, right? so i think we want to, so now it's like, ok, so there was 0. we want more than 0. well, we don't want something that's just gonna, you know, create, like in this one that was like the girl or a car. and those rama on everyone's like, why is she doing that? is she hi, is this young very well where it wasn't really helping hash tag, not even water. that's an in joke that i'm not going to explain to anybody. he's not muslim. alright, here my laptop. reason ahmed. the importance of representation. if you're a kid,

you want to see another muslim tied to was encouraged to in your kid shows. this is what he had to say about the data and the survey. ah, no couple of things did really stand out to me. surprising one was there was, seems a totally absent from animations. there were no, was him characters in any of these, talk to you on the films i love animation. so it was really impacting kids and how they see themselves and whether they're rendered invisible of was the characters, the obstacles they face were all at home with family problems. a lot of the time, rather than see was some characters out there trying to save world. we want to say was much as anyone else. well, no couple of things vienna. so one of the things that people are doing within the industry is actually creating their own art. if the problem are the gatekeepers, then how do you get around the gate keepers? what the ged jana well, i mean, i'm a writer and

a creator because i started out as an actor and i very quickly realized, oh gosh, it's rough up here. i mean, especially for people of color. i mean, the breakdowns were getting are, are so, and i can speak, you know, the muslim breakdowns for characters or just so as was i med spoke about, you know, one dimensional lack nuanced depth and just don't feel like human beings. and we're all human beings here, right. so it leaves you feeling kind of gutted and feeling like, well, well, i'm an artist and i have a story to tell and i think to say so. so how can i do that? i really think, you know, we need the opportunities that, you know, the gate keepers, it's difficult because the higher you go, it becomes a really homogenous space of, let's face it, white men. and i'm, and you know, if we talk about authentic storytelling, i think it's really, really important that the, that the studios their producers, they trust us, they trust our taste and they trust our ability to tell our own stories. we know

our community, we know our families and friends, we know ourselves, and we know that there is an audience for these stories. so if they're smart, you know, they'll make money if they just trust us. and that's really, you know, it has to, it's on screen is not enough. it needs to go way path, but it needs to go. there needs to be way more producers, studio executives, production companies, and writers in the writers room. because once it's already on the actors, you know, hands ready to audition, it's too late. the problematic story has already been written. and what we've seen is they're often riddled with orientalist, really problematic awful portrayals of muslims, which are just not even true. and quite frankly, we're sick of it and it's not welcome anymore. and i want to add to that, like, i think the myth here too is that there is no audience for this. that's i think one of the biggest lies that we've been told that there is no audio type of content.

there absolutely is an audience for this type of content. people are actually very hungry for this content. and i think that there are absolutely opportunities to support artists and support creating and exactly that to support them, not just in front of the screen, but the support them behind the screen because that's how change actually happens. and so i really, i really think that that's how they've been able to hold so many part of down there . your work is just not, you know, white audiences just don't care about it, right? i want one more voice. if i, if i may get one another voice, this is a mom and she's talking about this new way of working around the gatekeepers and how that is needed have listened to her and then i'll ask you more about that. so let me think about obstacles and barriers for most filmmakers in the industry. it really is about getting into the door. we have so many stories to tell with such strong background and authentic real stories. but giving me the opportunity to get

into that door to direct, to write, to produce has been the biggest challenge in the industry. and so these initiatives that they've been having to bring in more, most filmmakers more produce or more writers has been really, really great. and getting the most, some story out there, and we kit, good discount independent filmmakers because so maybe we have to get there start from somewhere. and as muslim filmmakers, it's a very strong and independent field to where we are telling our own story on our own terms and being supported by our communities. yeah, you know, i think it's that, you know, i'm reminded of the film, jerry maguire, show me the money. and that's kind of part of what i think about this too. right. so this is idea that hollywood, like, like they said, you know, the stories are there, the audience is there. right. but you can't get greenwood and this is what needs to happen. and so really the invitation now for people in the hollywood for the white men, hollywood, right to sort of become accomplices and show us the money. put money behind. right? to support the kind of work that is already there. right?

because because one of the things that we're going to do, what we do, we're going to do anyway, like jenna, she's already doing it right. well, like she said, you can be a part of it. like you, like you don't have to get left behind. you can be a part of it, right? and so that's the opportunity, right. and i think, i think there's, i think we see like people of color sort of doing their own things. right. so like able to for, right. can hands on. so you, people doing different types of things, right? that's what a push the forward. but i think there's a responsibility where we really have to sort of come go to the white men and say, hey, you know, the time is now put, put the, put your money where your mouth it. i have to have to bring up this question from some youtube. this is from maya. i'm going to put this one to you. jenna representation is needed, but we shouldn't do at the expense of islamic values. i wish we could see or thank moving characters, who are human and who actually enjoy being was there. i know this question you take

i mean that, of course, of course we want to see humans. we want to see a variety of stories, right? i mean people are complex and different, right? i mean, we want, we want to see that too. i don't, i think we have to differentiate between like, when we say we wanna authentic story telling like, yeah, i want i wanna of religious muslim person to tell the story beautifully. al, a watch it if the characters are real and authentic and fully fleshed out, i mean i, but i think we also have to be careful. this is a massive community, right. and we all have varying degrees, different we come from different experiences. there's no one way to be a muslim, i mean, and i, i think the media, us media if you want to much. so how do you believing that there is that there's like one look. and i'll give you an example like something i'm often told by white casting directors and people in the media. i've often almost lost job by saying you don't look middle eastern enough. and i'm like, 1st of all,

i don't even went paternally steering, but i won't get into that. but what does that mean? and just like dr. slot is saying, we have black muslims, we have a muslims from south asia from north africa from so i mean, it's such a big community. so we can't, we can't really prescribe one experience to every, to all of those billions of people. right. so i think it's more about supporting creators. i have a yeah, of course, of course, go ahead. i don't think i'm going to respond to that too because i think, you know, part of it is a lot of pressure, right? because you don't get a lot of stuff. and so people want the one thing to do everything, you know, like for example, i really enjoyed the film that came out one night in miami, which had to move from characters. no one never knows what as i already asked somebody this alright, but, but not enough. worry was here. reduce the idea that i felt i, i enjoyed the movie and i enjoyed the fact that we saw a personal side both of the people who are like the looming, large figures. right. but there were other muffins that were like, wait a minute,

mark over it, and do that. mohammed ali wouldn't do that, right. and that is all. this is a really what we need is we need like, well why people have 25 different people and 20 different times. it's why have different places they're important, different bang yet. i mean, we need that. i think that's the answer audience i have to show you this, the blue point, the blueprints, and was an inclusion recommendations for film industry professionals. so cut you, not only did your organization come out with, these are the stats, they are terrible. but this is what we can do about it. i feel like this is or is more important than knowing how bad the representation is, the blueprint. what is in the blue point, what are easy to follow ways to solve the representation issue of muslims in film. yeah, well i mean, i think it's really important to recognize that we didn't, we knew that the data was going to be really bad. so we needed to make sure that there was some action attached to it. and there are some recommendations and sort

of the, the high level recommendation which we're working with duty is to talk about. it's like the 1st one is this idea around like terror tropes, the data around how muslims were associated with violence was obviously incredibly high. and so the idea that we're really pushing forward is for studios to sunset, terror tropes. i think that's an easy way to start to really diversify and change the way the muslims are being represented on screen. and in particularly in the way that they're being very harmful, these representations are incredibly harmful. so we're asking studios and we're working with 30 at the sunset, those tear tropes. i think that's incredibly important. the 2nd thing is, is dr. saladas that it's really, really important for lots of muslims to be able to be on, be able to tell their story, being hollywood. and so we're working with studios to get deals like 1st look, deals with muslim creative. that's critical. that's absolutely critical. and it's important because it allows a diverse community to tell an array of different stories,

like to go back to that last question. we'd sort of completely believe there's no one way to be muslim. there is no sort of one authentic way to be muslim, but we do believe in the diversity and the complexity of the muslim identity and being able to talk about being with them is really, really important. and so we're really working with, with these studios to be able to actually try to implement some of these changes. and then the last part about all of that. but i think is really important is we announced the launching of the pillars, fellowship, the artist fellowship, which were incredibly excited about in partnership with resign, much left handed production company. that's i think, you know, going to be game changing. we are offering unrestricted funding to artist, been creators to be and we're working with an array of advisors. i'm using the list there were so oh, so excited to have marshall, i have rami you serve them, marshal seminars like you know, many. oh my goodness. so many people all trying to really get to this gatekeeper

issue, trying to basically mentor support and financially support these artists. i think that's going to be what is going to be really game changing. guess i just want to take your temperature, your mood right now for how positive you are feeling. let's start with an extra voice. interact, conversation. this is christian, he's feeling quite foolish about the way forward. have a listen. look. the inclusion initial report confirms with scholars like jack shaheen. evelyn awful tanny and may tell us on i've shown for a long time that muslims are portrayed on screen is usually in a negative light. however, i'm optimistic about the future of muslim storytelling on screen. for one, we have great independent muslim cinema. we have still makers like need to mean susan uses moses i eat or boss. and hark are making dynamic and beautiful shells and lessons. we also have access to international film from us majority countries,

places like turkey, indonesia, pakistan, streaming on netflix for western audiences to, to see 1st hand gena house in mood right now about your place in the industry. oh yes, i mean like i said, i choose hook, right. i choose to be hopeful. i still think we have a very long way to go for film and tv and theater. being in new york actor, i can say theater has a long way to go to. um, but we, we, we have, you know, there's just so much to be done. i mean, and we really have to, like i said, trust muslim storytellers and creators and give them the opportunity. you know what i personally as someone who is born and raised in this country, you know, in new jersey, i want to see more representations of muslims that are, that are not foreign and don't speak a different language. i mean, those are wonderful to, but i want to see more just like muslims as

a part of communities and you know, their, their identity is, is, is 2nd to life what they're doing here. i want to see more of those portrayals. so how optimistic are you at at this point? yeah, well, you know, i'm black and america, so i'm living on the car here. how are you feeling? oh i'm, i'm glad we can. we can off rage. i'm not going to go ahead. i wasn't done. so i mean, i've been displayed, generally speaking, i think, i mean, i think that there's a lot opportunity, but it's uphill battle. and i'm really interested in seeing how we represent, like how we represent ourselves like so, for example, how muslims, of one ethnic, whatever background represent lessons with other backgrounds. because one of the things that i get concerned about is how we can reproduce some of the tropes, right? so i feel like i'm excited for what's happening and i just want to keep our feet to the fire so that we keep producing stuff that's really kind of representative of

i've got 30 seconds to wrap up the show. if you have a head, i'll just say that i, i don't think it's a matter of being optimistic or pessimistic. it's a matter of being determined. and i think we have the infrastructure as muslim communities in the us for the 1st time to really i've resources to really hold people accountable. and that's what we really plan to do is to hold these people accountable. when they say they're going to do something, make sure that they do something, and that's what kind of gives me that hope in moving forward with all of this work . thank you for joining us on the share on the stream cut f dot to so on. and jenna, you may remember that dr. so i said we will, what white people want regarding mostly representation, may i recommend to you a series could lady parts? it is definitely diverse in so many ways. we're gonna play out with it because it's our new fan favorite here on the stream. and so watching every way see, next time is me. 26. capricorn finishing the ph. d and

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