Over at TAPPED, Matthew Duss says yes, and has the video (and the commentary on Back to the Future's egregious Libyan-bashing) to prove it:



To support its claim that Arabs are "the most maligned group in the history of Hollywood," this five-minute film is forced to resort to clips from such blockbuster films as Cannonball Run II, Happy Hooker Goes to Washington, and Hell Squad. So far as I could tell, the most recent clips are from Aladdin and True Lies, both of which are fifteen years old. In the seven years since 9/11, with the nation embroiled in a global struggle in which America's most deadly and dedicated enemies tend to be, well, Arabic, Hollywood has turned out exactly one big-budget film featuring Arab villains: This fall's The Kingdom. If you want to expand the list to include art-house fare, you can throw in United 93, and if you count people trapped in a cycle of violence as "villains" you can tack on Steven Spielberg's Munich, in which audiences were invited to side with Israeli assassins against Palestinian terrorists but feel awfully conflicted about it. Meanwhile, even 24, ostensibly the most right-wing hour on television, features what Martha Bayles, writing in this season's Claremont Review of Books, terms a "timid selection of villains," including "vengeful Serbs, a bitchy German, red-handed Mexican drug lords, a turncoat British spy, a greedy oil executive, power-mad government officials (including one president), and—once in a blue moon, when the Council on American-Islamic Relations is looking the other way—violent jihadists."

But yes, there's no question but that the deeply insensitive portrayal of Libyan terrorists in 1985's Back to the Future - which belongs to an era nearly as distant from our own as the "Enchantment Under the Sea" Fifties were from Marty McFly's Eighties adolescence - continues to be a stumbling block to Arab-American advancement in the United States.

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