Ben Shapiro’s anti-Muslim film is nothing new
A new film by Ben Shapiro, 'Run Hide Fight: Infidels,' is criticized for perpetuating Islamophobic tropes, which the author argues are not new to Hollywood's portrayal of Muslims and Arabs.
Intelligence analysis by Gemini 2.5 Flash
The article, written by an American Muslim woman, argues that Ben Shapiro's new film, which claims to expose the 'threat of radical Islam,' is merely a continuation of decades of Hollywood's problematic and often dehumanizing portrayal of Muslim and Arab characters. It highlights how such media narratives contribute to real-world anti-Muslim hate and violence, especially in the curren…
Imagine a movie where the bad guys are always people who look or pray a certain way, even though most people who look or pray that way are just normal folks. This article says a new movie by Ben Shapiro is doing that again, making Muslims seem like scary terrorists. But the writer says this isn't new; Hollywood has been doing it for a long, long time. It's like when a bully keeps telling the same mean story about someone, even when it's not true, and it makes other kids scared of them for no good reason. This can make real people who are Muslim feel unsafe and misunderstood.
Analysis
The release of Ben Shapiro's film, 'Run Hide Fight: Infidels,' is framed by the author as a continuation of a long-standing pattern of Islamophobic representation in Hollywood, rather than a novel exploration of a neglected topic. Shapiro's claim that Hollywood has avoided depicting the 'threat of radical Islam' is directly challenged by the article, which points to a history rich with such narratives. This perspective underscores how deeply ingrained certain stereotypes are within popular culture, making Shapiro's film less an innovation and more a repackaging of familiar tropes.
Jack Shaheen
American writer and educator Jack Shaheen's extensive research, detailed in his 2003 book Reel Bad Arabs, provides a critical historical backdrop to the author's argument. Shaheen reviewed over 900 films and concluded that Hollywood consistently blurred Arab and Muslim identities, portraying them predominantly as violent, barbaric, greedy, or sexually threatening. This academic analysis supports the contention that the 'bad Muslim' or 'bad Arab' archetype is not a recent phenomenon but a deeply entrenched cinematic tradition. Films like True Lies (1994), Executive Decision (1996), and The Siege (1998) are cited as prime examples, featuring plots involving Arab terrorists, hijacked planes, and the association of Islamic practices with extremism. Even seemingly 'improved' narratives, such as The Kingdom (2007), which features a 'good' Arab character, are critiqued for still limiting Muslim representation to either villain or exceptional ally, reinforcing a narrow and often negative framework.
Run Hide Fight: Infidels
Shapiro's new film, 'Run Hide Fight: Infidels,' is presented as a modern iteration of these tired anti-Muslim tropes, albeit with a contemporary political twist. The film's trailer depicts a college campus overrun by 'radical Islamic terrorists' who establish a 'makeshift caliphate' and impose 'Sharia law,' executing 'infidels.' Crucially, the film juxtaposes ISIL (ISIS) imagery and 9/11 footage with scenes from 2024 college campus protests, specifically those advocating for Gaza solidarity. This narrative choice is highlighted as particularly insidious, as it attempts to conflate a legitimate political movement against genocide with extremist violence, thereby demonizing student activism and Palestinian solidarity. The article argues that this is an old far-right conspiracy theory, repackaged for a new audience, designed to exploit current anxieties and political divisions.
October 7
The timing of the film's promotion is deemed highly problematic, coinciding with a significant surge in anti-Muslim hate following October 7. The article notes that Palestinians, Muslims, and their allies have increasingly been treated as security threats by the US political establishment, with solidarity efforts often viewed with suspicion. College protesters have been accused of terrorist sympathies, and American Muslims have faced accusations of antisemitism for criticizing Israeli government actions. In this charged atmosphere, a film that portrays anti-genocide campus encampments as a precursor to an 'Islamist' takeover of America is seen as directly fueling existing prejudices and potentially inciting further real-world violence. The author points to a recent attack on the Islamic Center of San Diego, where three men were fatally shot, as a stark reminder of the tangible and deadly consequences of such dehumanizing media portrayals.
Key points
- Ben Shapiro's new film, 'Run Hide Fight: Infidels,' is criticized for perpetuating long-standing anti-Muslim stereotypes in Hollywood.
- The film's narrative, which links Gaza solidarity protests to 'radical Islamic terrorists,' is seen as a dangerous repackaging of old far-right conspiracy theories.
- Historical analysis by Jack Shaheen demonstrates that Hollywood has consistently portrayed Arabs and Muslims negatively for decades.
- The article highlights real-world consequences of such media portrayals, including a surge in anti-Muslim hate and violence, particularly since October 7.
- While some recent media offers more nuanced Muslim representation, the pervasive negative framing continues to cause harm and fuel prejudice.
Despite the concerning trend, the article notes that recent years have seen more complex and nuanced representations of Muslims in shows and films like 'Ramy,' 'Mo,' and 'Ms Marvel.' This suggests a growing demand and capacity within the entertainment industry to move beyond simplistic stereotypes, offering hope for more diverse and accurate portrayals in the future.
The release and promotion of films like 'Run Hide Fight: Infidels' risk exacerbating existing anti-Muslim sentiment, potentially leading to increased hate crimes and discrimination against Muslim communities. By conflating legitimate political activism with extremist violence, such media narratives could further polarize society and undermine efforts for peaceful dialogue and understanding.
