The Muslim Entertainment Industry: Why We Must Own Our Stories

A 2 Billion Strong Audience, Yet No Industry: The global Muslim population surpasses 2 billion, with consumer spending projected to reach $2.8 trillion by 2025. Yet, despite this economic power, Muslim-centric media remains severely underdeveloped. Unlike South Korea, which deliberately invested in K-pop and K-dramas, or India with Bollywood, the Muslim world has failed to create a thriving media industry that represents its people and values.
The massive success of Turkish productions like Ertuğrul and Osman proves that faith-driven, high-quality content has global appeal. However, instead of building upon these successes, many aspiring Muslim creatives feel forced to compromise their values in order to succeed in Hollywood or Bollywood. The question is: Why haven’t we built our own industry?

The Price of Fame: Why Muslim Creatives Compromise in HollywoodWith limited opportunities in Muslim-majority countries, many talented Muslim actors, comedians, and filmmakers turn to Hollywood and Bollywood. However, in doing so, they often sacrifice their values to fit into industries that don’t share or respect their cultural and religious perspectives.

Case Study: Ramy (Hulu) , Mo (Netflix) and Bilal (Animated Movie)

• Mo Amer, a stand-up comedian, started his career with a strong Muslim identity. However, to achieve mainstream success on Netflix, his show Mo had to water down its Islamic elements.
• Ramy Youssef’s show on Hulu, Ramy, presents a diluted, often problematic version of Muslim identity, designed for a Western audience rather than staying true to the values of practicing Muslims.
• Bilal: The Animated Movie had so much promise but had to strip out the name of the Prophet (P.B.U.H), referring to him instead as a "Noble Man." Rather than calling it "Islam," they labeled it "a movement," and most cringe-worthy of all, they removed the Adhan—the very essence of Bilal (A.S). The film cost $40 million to make but only earned $2 million at the box office. No wonder

These compromises aren’t accidental; they’re necessary for approval in industries that do not prioritize authentic Muslim storytelling. If Muslim-majority countries had a thriving film and television industry, creatives wouldn’t feel pressured to seek validation from the West.

Why Muslim Countries Struggle in Media & Entertainment

 1. No Investment in a Muslim-Owned Media Ecosystem

• South Korea built a $10+ billion entertainment empire through government support.
• India’s Bollywood is a massive industry embedded in national culture.
• In contrast, Muslim countries have no unified strategy to build a media powerhouse.
• Pakistan remains a soap opera/drama nation, and actors look to Bollywood for major stardom instead of strengthening local productions.

2. The Influence of Hollywood & Bollywood

• Muslim artists seek Western validation, thinking success means starring in a Hollywood film.
• Hollywood and Bollywood offer limited roles to Muslims:
  • Hollywood often casts Muslims as villains, terrorists, or sidekicks.
  • Bollywood frequently presents Muslims as stereotypical or secondary characters.
  • Western media tends to dilute or misrepresent authentic Muslim identities.

3. Censorship & Fear of Media Influence

• Many Muslim-majority countries fear “Westernization”, leading to strict censorship laws that stifle creativity.
• Ironically, these same countries consume Hollywood and Bollywood content without producing alternatives.

The Solution: Building a Thriving Muslim Entertainment Industry

1. Invest in the Next Generation of Muslim Creatives

• Encourage young Muslims to explore media careers—filmmaking, animation, writing, directing.
• Parents and educators must support the arts as a legitimate career path, just as they do with engineering and medicine.
• South Korea’s Hallyu (Korean Wave) was a government-backed effort; Muslim nations must adopt a similar strategy.

2. Fund & Support Muslim-Led Entertainment Ventures

• Provide funding for Muslim writers, directors, game developers, and studios.
• Establish film schools, animation hubs, and gaming incubators in Muslim-majority nations.
• Create grants, scholarships, and mentorship programs for young Muslim creatives.

3. Strengthen & Expand Muslim-Owned Distribution Channels

• Instead of relying on Netflix and Hollywood, develop and invest in Muslim-led streaming services (e.g., an “Islamic Netflix”).
• Partner with existing Muslim-owned media companies to distribute authentic content.
• Ertuğrul succeeded because Turkey invested in high-quality production and global distribution—other Muslim nations must do the same.

4. Build a Muslim-Centric Entertainment Culture

• Stop seeking validation from Hollywood and Bollywood.
• Create high-quality, culturally authentic content that reflects Islamic values.
• Faith-driven stories can be universal—just like Ertuğrul resonated with Muslim and non-Muslim audiences alike.

Conclusion: The Time to Act is Now

• Media shapes perception—whoever controls the narrative controls how people view the world.
• With 2 billion Muslims and a rapidly growing entertainment market, now is the time to invest in Islamic storytelling.
• By investing in children, funding local talents, and prioritizing media as a tool for influence, Muslims can reclaim their narratives.
• BURAAQ and similar projects represent the future of faith-driven superheroes and media, but they need community support and investment.

What’s the alternative? Another generation of Muslim creatives compromising their values to fit into Hollywood’s mold. The choice is ours—will we own our stories, or let others tell them for us?