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Muslim men have often been portrayed as ‘terrorists’ or ‘fanatics’ on TV shows, but Muslim-led storytelling is trying to change that narrative

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Hulu’s comedy-drama series ‘Ramy,’ created by actor-comedian Ramy Youssef, follows a young Egyptian-American Muslim navigating life’s challenges. Youssef, center, appears at a press conference in 2019. Frederick M. Brown/Getty Images

Muslim men have often been portrayed as ‘terrorists’ or ‘fanatics’ on TV shows, but Muslim-led storytelling is trying to change that narrative

Tazeen M. Ali, Washington University in St. Louis For over a century, Hollywood has tended to portray Muslim men through a remarkably narrow lens: as terrorists, villains or dangerous outsiders. From shows such as “24” and “Homeland” to procedural dramas such as “Law and Order,” this portrayal has seldom allowed for complexity or relatability. Such depictions reinforce Orientalist stereotypes – a colonial worldview that treats cultures in the East as exotic, irrational or even dangerous. However, recent years have seen a noticeable increase in Muslim-led storytelling across platforms in the U.S. and U.K. While still a minority, these stories depart from decades of misrepresentation. As a scholar of Islam and gender who has conducted research on masculinity, sexuality and national belonging in Muslim entertainment media, I analyze a new wave of critically acclaimed shows where Muslim characters are at the center of the narrative.

Historical stereotypes

Scholar of media and race Jack Shaheen has documented the systematic vilification of Arabs and Muslims in Western media. In his 2001 book “Reel Bad Arabs,” he analyzed over a thousand films and found that the vast majority depicted Arab and Muslim men almost exclusively as fanatics, oil-rich villains and misogynists.
‘Reel Bad Arabs’ documentary.
More recently, a 2021 study from the University of Southern California’s Annenberg Inclusion Initiative looked at 200 popular movies and found that Muslim characters were either completely missing or shown as violent. Despite the consistency of negative representations of Muslims on television following the rise in Islamophobia, the post-9/11 climate actually saw the introduction of more diverse Muslim characters. Such portrayals promoted the idea of the U.S. as a tolerant, liberal society. Scholar of popular culture Evelyn Alsultany writes that Hollywood introduced Muslim characters who were often law-abiding citizens or patriotic allies. She explains that despite these positive attempts, these characters were still depicted in simplistic ways, as either “good Muslims” or “bad Muslims.” The “good Muslim/bad Muslim” framework was coined by scholar of postcolonialism Mahmood Mamdani to describe how Muslims are understood across this binary. The “good Muslims” distance themselves from their faith and align themselves with Western liberal values to gain acceptance. Expanding on this theme, Islamic studies scholar Samah Choudhury explains how the mainstream success of South Asian Muslim male comedians such as Hasan Minhaj, Kumail Nanjiani and Aziz Ansari is shaped by their adoption of secular ideals. Even so-called “positive” characters, such as Muslim FBI agents or loyal informants in shows like “NCIS” or “Homeland,” ultimately served to normalize state surveillance and justify the global war on terrorism, a global campaign initiated by the U.S. following the Sept. 11, 2001, terrorist attacks. These brown and sometimes Black Muslim characters are portrayed as “good” only when aligned with U.S. state power.

Effort in contemporary television

Hulu’s comedy drama series “Ramy” is a milestone in Muslim storytelling. Created by actor-comedian Ramy Youssef, the series, which debuted in 2019, follows a young Egyptian-American Muslim navigating family, faith and relationships in New Jersey. Ramy is devoid of storylines about national security. Instead, the show foregrounds its main character’s grappling with religiosity, dating and identity. Moreover, as I have argued elsewhere, the protagonist’s religious devotion is never a punchline but a part of his everyday experience. For instance, Ramy prays five times a day – at the mosque and at home, fasts during Ramadan, and abstains from alcohol as a matter of Islamic observance. At the same time, he also partakes in hookup culture and wrestles with guilt for falling short of Islamic ideals. By showcasing this duality, the show illuminates internal debates within American Muslim communities, including on gendered norms around marriage and sexual ethics. Across the Atlantic, the BBC comedy series “Man Like Mobeen,” created by comedian-actor Guz Khan, offers a layered portrayal of Muslim life in inner-city Birmingham, England. The show follows Mobeen, a reformed British Pakistani gangster, striving and often failing to leave his criminal past behind and live as a devout Muslim while raising his teenage sister. The show explores the struggles of the working class. It situates Muslim communities within broader class and racial dynamics whereby working-class Black and brown men are vulnerable to racial profiling by law enforcement and gang violence. With incisive and dark humor, it challenges British racism against Muslims and offers social and political commentary on U.K. society. This includes critiques of British far-right movements and their racism, as well as the failures of the National Health Service.

Muslim women on screen

The flip side of stereotypical portrayals of Muslim men as violent and misogynist is the equally reductive portrayal of Muslim women as passive or oppressed. When Muslim women appear on screen, they are often presented as submissive or “liberated” only by a white non-Muslim male romantic interest. This process of liberation usually involves removing their hijab or distancing themselves from Islam. A refreshing departure from such storytelling norms can be found in the British Channel 4 comedy “We Are Lady Parts,” created by filmmaker and writer Nida Manzoor, which debuted in 2021. The show follows an all-female Muslim punk band in London. The bandmates are funny, creative and rebellious. While they defy Western views of Muslim women, they do not appear to be written solely to shatter stereotypes. They reflect the contradictions that many Muslims live with, juggling faith, identity and politics in their music. The band’s songs include feminist themes but are diverse, subverting Islamophobic stereotypes against women with humor with songs like “Voldemort Under My Headscarf,” or lusting after a love interest in “Bashir with the good beard.”
‘Voldemort Under My Headscarf,’ a song from the music comedy ‘We Are Lady Parts.’
The band members are also often seen engaged in ritual prayer together, a unified display of worship among women who otherwise have very different personalities, fashion sensibilities and goals in life. The show also addresses queerness, Islamophobia and intergenerational conflict with nuance and humor. I explore all of these themes in further detail in my forthcoming book, in which I examine how this new wave of Muslim media offers insights about the lived religious experiences of American and British Muslims.

Narrative authority

What unites these series is their rejection of reductive and stereotypical narratives. Muslim characters in these shows are not defined by violence, trauma or assimilation. Nor do they serve as spokespeople for all Muslims; they are written as flawed and evolving individuals. This wave of nuanced portrayals of Muslim life includes other recent productions such as Netflix’s 2022 series “Mo” and Hulu’s 2025 reality series “Muslim Matchmaker,” which centers real people whose lives and romantic journeys showcase American Muslim life in authentic ways. Muslims in the show are depicted as having various professions, levels of faith and life experiences. These series and their creators signal that real progress comes when Muslim voices are telling their own stories, not simply reacting to the gaze of outsiders or the pressures of political headlines. By foregrounding daily ritual, spiritual aspiration and even awkwardness and desire, “Ramy,” “Man Like Mobeen” and “We Are Lady Parts” all refuse the burden of “representation.” By moving away from the binary of “threatening other” versus “assimilated citizen,” this new wave of media challenges the legacy of Orientalism. Instead, they offer characters who reflect the complex realities of Muslim lives that are messy, joyful and evolving. Tazeen M. Ali, Assistant Professor of Religion and Politics, Washington University in St. Louis This article is republished from The Conversation under a Creative Commons license. Read the original article.

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The Building That Proved Los Angeles Could Go Vertical

Los Angeles once banned skyscrapers, yet City Hall broke the height limit and proved high-rise buildings could be engineered safely in an earthquake zone.

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Los Angeles once banned skyscrapers, yet City Hall broke the height limit and proved high-rise buildings could be engineered safely in an earthquake zone.
LA City Hall. Image Credit: TNC Network & Envato

How City Hall Quietly Undermined LA’s Own Height Limits

The Knowledge Series | STM Daily News

For more than half a century, Los Angeles enforced one of the strictest building height limits in the United States. Beginning in 1905, most buildings were capped at 150 feet, shaping a city that grew outward rather than upward.

The goal was clear: avoid the congestion, shadows, and fire dangers associated with dense Eastern cities. Los Angeles sold itself as open, sunlit, and horizontal — a place where growth spread across land, not into the sky.

And yet, in 1928, Los Angeles City Hall rose to 454 feet, towering over the city like a contradiction in concrete.

It wasn’t built to spark a commercial skyscraper boom.
But it ended up proving that Los Angeles could safely build one.


A Rule Designed to Prevent a Manhattan-Style City

The original height restriction was rooted in early 20th-century fears:

  • Limited firefighting capabilities
  • Concerns over blocked sunlight and airflow
  • Anxiety about congestion and overcrowding
  • A strong desire not to resemble New York or Chicago

Los Angeles wanted prosperity — just not vertical density.

The height cap reinforced a development model where:

  • Office districts stayed low-rise
  • Growth moved outward
  • Automobiles became essential
  • Downtown never consolidated into a dense core

This philosophy held firm even as other American cities raced upward.


How Los Angeles City Hall Proved Skyscrapers Could Be Built Safely

Why City Hall Was Never Meant to Change the Rules

City Hall was intentionally exempt from the height limit because the law applied primarily to private commercial buildings, not civic monuments.

But city leaders were explicit about one thing:
City Hall was not a precedent.

It was designed to:

  • Serve as a symbolic seat of government
  • Stand alone as a civic landmark
  • Represent stability, authority, and modern governance
  • Avoid competing with private office buildings

In effect, Los Angeles wanted a skyline icon — without a skyline.


Innovation Hidden in Plain Sight

What made City Hall truly significant wasn’t just its height — it was how it was built.

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At a time when seismic science was still developing, City Hall incorporated advanced structural ideas for its era:

  • A steel-frame skeleton designed for flexibility
  • Reinforced concrete shear walls for lateral strength
  • A tapered tower to reduce wind and seismic stress
  • Thick structural cores that distributed force instead of resisting it rigidly

These choices weren’t about aesthetics — they were about survival.


The Earthquake That Changed the Conversation

In 1933, the Long Beach earthquake struck Southern California, causing widespread damage and reshaping building codes statewide.

Los Angeles City Hall survived with minimal structural damage.

This moment quietly reshaped the debate:

  • A tall building had endured a major earthquake
  • Structural engineering had proven effective
  • Height alone was no longer the enemy — poor design was

City Hall didn’t just survive — it validated a new approach to vertical construction in seismic regions.


Proof Without Permission

Despite this success, Los Angeles did not rush to repeal its height limits.

Cultural resistance to density remained strong, and developers continued to build outward rather than upward. But the technical argument had already been settled.

City Hall stood as living proof that:

  • High-rise buildings could be engineered safely in Los Angeles
  • Earthquakes were a challenge, not a barrier
  • Fire, structural, and seismic risks could be managed

The height restriction was no longer about safety — it was about philosophy.


The Ironic Legacy

When Los Angeles finally lifted its height limit in 1957, the city did not suddenly erupt into skyscrapers. The habit of building outward was already deeply entrenched.

The result:

  • A skyline that arrived decades late
  • Uneven density across the region
  • Multiple business centers instead of one core
  • Housing and transit challenges baked into the city’s growth pattern

City Hall never triggered a skyscraper boom — but it quietly made one possible.


Why This Still Matters

Today, Los Angeles continues to wrestle with:

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  • Housing shortages
  • Transit-oriented development debates
  • Height and zoning battles near rail corridors
  • Resistance to density in a growing city

These debates didn’t begin recently.

They trace back to a single contradiction: a city that banned tall buildings — while proving they could be built safely all along.

Los Angeles City Hall wasn’t just a monument.
It was a test case — and it passed.

Further Reading & Sources


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small business

When TV Talks About Gentrification and Shopping Local — and Where It Gets It Right (and Wrong)

A closer look at how the TV show The Neighborhood tackles gentrification and shopping local—and where the reality of online sales and small business survival is more complex.

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a buy local signage. A closer look at how the TV show The Neighborhood tackles gentrification and shopping local—and where the reality of online sales and small business survival is more complex.
Photo by RDNE Stock project on Pexels.com

In our continuing look at how entertainment—television, movies, and streaming shows—grapples with real-world issues, this time we turn our attention to gentrification and the often-repeated call to “shop local.” Once again, we examine how popular culture frames these conversations, this time through the CBS sitcom The Neighborhood and the episode “Welcome Back to What Used to Be the Neighborhood.”

A Familiar Story: When the Neighborhood Changes

In the episode, Calvin’s favorite longtime restaurant closes its doors and is replaced by a flashy new pet spa. To Calvin, the change symbolizes something much bigger than a single business closing—it represents the slow erosion of the neighborhood he knows and loves. In response, he launches a campaign urging friends and neighbors to buy local in order to protect small businesses from disappearing.

Emotionally, the episode hits home. Many communities across the country have watched beloved neighborhood institutions vanish, replaced by businesses that feel disconnected from the area’s history and culture. In that sense, The Neighborhood gets something very right: gentrification often shows up one storefront at a time.

Where Television Simplifies a Complicated Reality

But, as is often the case with television, the episode also simplifies a much more complex economic reality.

The show frames “shopping local” as a direct alternative to shopping online, subtly suggesting that online platforms are inherently harmful to small businesses. In real life, however, the line between “local” and “online” is no longer so clear.

Many local and small businesses now survive precisely because they sell online—through their own websites, through Amazon, or through other platforms that support independent sellers. For some, online sales are not a threat to local commerce; they are a lifeline.

Why Brick-and-Mortar Isn’t Always Sustainable

Rising costs are a major factor driving these changes. Commercial leases, insurance premiums, utilities, staffing costs, and local fees have all increased dramatically in many cities. For small business owners, keeping a physical storefront open can become financially impossible—even when customer support remains strong.

As a result, some businesses choose to close their brick-and-mortar locations while continuing to operate online. Others scale back to pop-ups, shared spaces, or hybrid models. These businesses may no longer have a traditional storefront, but they are still local—employing local workers, paying local taxes, and serving their communities in new ways.

The Real Issue Behind “Shop Local”

Where The Neighborhood succeeds is in capturing the emotional truth of gentrification: the sense of loss, displacement, and cultural change that comes with rising rents and shifting demographics.

Where it misses the mark is in suggesting that consumer choices alone—simply avoiding online shopping—can solve the problem.

The real challenges facing local and small businesses go far beyond individual buying habits. They include zoning policies, commercial rent practices, corporate consolidation, and economic systems that increasingly favor scale over community presence.

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Visit: https://stmdailynews.com/stm-daily-news-pop-culture-fact-check-do-electric-cars-have-fuses/

A Conversation Worth Having—Even If TV Can’t Finish It

The Neighborhood deserves credit for bringing these issues into mainstream conversation. It sparks discussion, even if it wraps a complicated topic in a sitcom-friendly moral lesson.

The reality is messier. Supporting local businesses today often means rethinking what “local” looks like in a digital economy—and recognizing that survival sometimes requires adaptation, not nostalgia.

Further Reading & External Resources

At STM Daily News, our Local and Small Business coverage continues to explore these real-world dynamics beyond the TV screen, highlighting the challenges, innovations, and resilience of the businesses that keep communities alive—whether their doors are on Main Street or their storefronts live online.

📍 Read more Local and Small Business coverage at: STM Daily News

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  • Rod Washington

    Rod: A creative force, blending words, images, and flavors. Blogger, writer, filmmaker, and photographer. Cooking enthusiast with a sci-fi vision. Passionate about his upcoming series and dedicated to TNC Network. Partnered with Rebecca Washington for a shared journey of love and art. View all posts


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The Knowledge

Metro Board Advances Sepulveda Transit Corridor as C Line South Bay Extension Remains Under Review

The Los Angeles Metro Board meeting addressed progress on two key rail projects: the approved underground Sepulveda Transit Corridor, enhancing regional connectivity, and the debated extension of the Metro C Line into the South Bay, which remains undecided.

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The LA Metro Board approved the Sepulveda Transit Corridor’s underground rail plan while continuing debate over the C Line extension into the South Bay. Here’s what it means for LA transit’s future.
Image Credit: LA Metro

The future of Los Angeles transit was the focus of a recent Los Angeles County Metropolitan Transportation Authority (Metro) Board meeting, where directors considered progress on two major rail projects: the Sepulveda Transit Corridor and the long-planned extension of the Metro C Line into the South Bay.

STC LPA scaled 1
Image Credit: LA Metro

While the meeting resulted in a decisive vote on one project, the other continues to generate debate among Metro officials, local cities, and residents.

Sepulveda Transit Corridor: Underground Heavy Rail Moves Forward

The Metro Board unanimously approved the Locally Preferred Alternative (LPA) for the Sepulveda Transit Corridor, marking a major milestone for a project that has been discussed for decades.

The approved alternative calls for a fully underground heavy rail subway connecting the San Fernando Valley to the Westside, running from the Van Nuys Metrolink Station to the Metro E Line’s Expo/Sepulveda Station. The line would pass beneath the Sepulveda Pass, UCLA, and other high-demand travel areas.

Metro officials emphasized that the underground alignment offers the fastest travel times, highest passenger capacity, and the fewest surface-level impacts when compared with earlier aerial or monorail alternatives. The project is expected to significantly reduce congestion along the 405 Freeway corridor and improve regional connectivity.

With the LPA now selected, the Sepulveda Transit Corridor advances toward final environmental clearance, engineering, and eventual construction — a process that will continue over the coming years.

Metro C Line Extension: South Bay Alignment Debate Continues

The Board also discussed the Metro C Line extension into the South Bay, a project intended to extend light rail service approximately 4.5 miles from the current Redondo Beach station to the Torrance Transit Center.

Metro has released the project’s Final Environmental Impact Report (FEIR), which incorporates years of technical analysis and public input. However, unlike the Sepulveda project, the Board did not take final action to certify the FEIR or formally adopt a locally preferred alignment at this meeting.

Hawthorne Boulevard vs. Metro Right-of-Way

At the center of the C Line discussion is the question of alignment.

Metro staff has identified a “hybrid” alignment using an existing Metro-owned rail right-of-way as the preferred option. This route would largely follow the historic Harbor Subdivision corridor, minimizing new street disruptions while blending at-grade, elevated, and below-grade segments.

Some South Bay cities, however, continue to advocate for a Hawthorne Boulevard alignment, which would place rail tracks within the median of the busy commercial corridor. Supporters argue it offers better street-level access, while Metro has cited higher costs, longer construction timelines, and greater traffic impacts as key concerns.

Metro officials indicated that additional coordination with local jurisdictions and further Board action will be needed before a final decision is made.

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What This Means for LA Transit

The contrast between the two projects was clear at the meeting: the Sepulveda Transit Corridor is now firmly on a defined path forward, while the C Line extension remains in a critical decision-making phase.

Together, the projects highlight both the ambition and complexity of expanding transit in Los Angeles County — balancing regional mobility goals, neighborhood impacts, and long-term funding realities.

Further Reading & Official Project Information


Metro Sepulveda Transit Corridor Project Page

– Official Metro overview of the Sepulveda Pass project, including alternatives, maps, timelines, and environmental documents.

Metro Board Considers Locally Preferred Alternative for Sepulveda Corridor

– Metro’s summary of the Board action and rationale behind selecting the underground heavy rail option.

Metro C Line Extension to Torrance Project Page

– Background, station concepts, and status updates for the South Bay light rail extension.

Final Environmental Impact Report: C Line Extension

– Details on the Final EIR, public comments, and next steps toward Board certification.

Metro Project Updates – The Source

– Ongoing Metro blog updates covering major transit projects, board actions, and construction milestones.

LA Metro Board of Directors

– Information on Metro Board members, meeting schedules, agendas, and voting records.

STM Daily News will continue to follow both projects closely, providing updates as Metro moves toward final approvals, construction timelines, and funding decisions that will shape how Angelenos travel for decades to come.

For ongoing coverage of Metro projects, transportation policy, and infrastructure across Southern California, visit STM Daily News.


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