Hasan Minhaj responds to accusations of ‘faking racism’
The New Yorker article raised doubts about the authenticity of Minhaj’s accounts regarding incidents of racism, Islamophobia, and political challenges in his life.
Comedian Hasan Minhaj has spoken out against the controversy surrounding a September New Yorker profile that raised questions about the authenticity of stories in his stand-up comedy.
The New Yorker article raised doubts about the authenticity of Minhaj's accounts regarding incidents of racism, Islamophobia, and political challenges in his life.
“There were omissions and factual errors in The New Yorker article that misrepresented my life story, so I wanted to give people the context and materials I provided The New Yorker with full transparency,” Minhaj said in a statement to The Hollywood Reporter after posting his video online.
In a 21-minute video statement, Minhaj acknowledged that some fans might be questioning whether he had used fabricated racism and Islamophobia to further his career, and said, “I just want to say to anyone who felt betrayed or hurt by my stand-up, I am sorry. I made artistic choices to express myself and drive home larger issues affecting me and my community, and I feel horrible that I let people down. And the reason I feel horrible is because I'm not a psycho. But this New Yorker article definitely made me look like one."
Minhaj criticised the article as “needlessly misleading” not only about his stand-up but also about him as a person.
“It was so needlessly misleading, not just about my stand-up, but also about me as a person. The truth is that racism, FBI surveillance, and the threats to my family happened. And I said this on the record," he said in the video.
Minhaj added, “So I'm going to do the most Hasan Minhaj thing ever: I'm going to do a deep dive on my own scandal, with graphics, because there is so much evidence I gave the New Yorker that they ignored that I want to show you."
In his Netflix special Homecoming King, Minhaj recounted an incident involving asking a white girl, whom he pseudonymously referred to as "Bethany Reed," to the prom, according to The Hollywood Reporter.
He described showing up at her house and being told by her mother that Bethany wouldn't go with him because her family didn't want their daughter pictured with "a brown boy."
The New Yorker claimed Minhaj had actually been turned down days earlier and that race wasn’t a factor in the rejection.
In his video, Minhaj reproduced audio clips of his interview with the magazine and email exchanges with the former prom date and iterated that race was a reason for his rejection.
“How could The New Yorker imply the opposite?” Minhaj asked. He also alleged that the magazine had omitted chunks of his official statements.
Forum brings UK and Chinese film professionals together to explore collaborations.
Emerging British-Asian talent gain mentorship and international exposure.
Small-scale dramas, kids’ shows, and adapting popular formats were the projects everyone was talking about.
Telling stories that feel real to their culture, yet can connect with anyone, is what makes them work worldwide.
Meeting three times a year keeps the UK and China talking, creating opportunities that last beyond one event.
The theatre was packed for the Third Shanghai–London Screen Industry Forum. Between panels and workshops, filmmakers, producers and executives discussed ideas and business cards and it felt more than just a summit. British-Asian filmmakers were meeting and greeting the Chinese industry in an attempt to explore genuine possibilities of working in China’s film market.
UK China film collaborations take off as Third Shanghai London Forum connects British Asian filmmakers with Chinese studios Instagram/ukchinafilm
What makes the forum important for British-Asian filmmakers?
For filmmakers whose films explore identity and belonging, this is a chance to show their work on an international stage, meet Chinese directors, talk co-productions and break cultural walls that normally feel unscalable. “It’s invaluable,” Abid Khan said after a panel, “because you can’t create globally if you don’t talk globally.”
And it’s not just established names. Young filmmakers were all around, pitching ideas and learning on the go. The forum gave them a chance to get noticed with mentoring, workshops, and live pitch sessions.
Which projects are catching international attention?
Micro-dramas are trending. Roy Lu of Linmon International says vertical content for apps is “where it’s at.” They’ve done US, Canada, Australia and next stop, Europe. YouTube is back in focus too, thanks to Rosemary Reed of POW TV Studios. Short attention spans and three-minute hits, she’s ready.
Children’s and sports shows are another hotspot. Jiella Esmat of 8Lions is developing Touch Grass, a football-themed children’s show. The logic is simple: sports and kids content unite families, like global glue.
Then there’s format adaptation. Lu also talked about Nothing But 30, a Chinese series with 7 billion streams. The plan is for an english version in London. Not a straight translation, but a cultural transformation. “‘30’ in London isn’t just words,” Lu says. “It’s a new story.”
Jason Zhang of Stellar Pictures says international audiences respond when culture isn’t just a background prop. Lanterns, flowers, rituals, they’re part of the plot. Cedric Behrel from Trinity CineAsia adds: you need context. Western audiences don’t know Journey to the West, so co-production helps them understand without diluting the story.
Economic sense matters too. Roy Lu stresses: pick your market, make it financially viable. Esmat likens ideal co-productions to a marriage: “Multicultural teams naturally think about what works globally and what doesn’t.”
The UK-China Film Collab’s Future Talent Programme is taking on eight students or recent grads this year. They’re getting the backstage access to international filmmaking that few ever see, including mentorship, festival organising and hands-on experience. Alumni are landing real jobs: accredited festival journalists, Beijing producers, curators at The National Gallery.
Adrian Wootton OBE reminded everyone: “We exist through partnerships, networks, and collaboration.” Yin Xin from Shanghai Media Group noted that tri-annual gathering: London, Shanghai, Hong Kong create an “intensive concentration” of ideas.
Actor-director Zhang Luyi said it best: cultural exchange isn’t telling your story to someone, it’s creating stories together.
The Shanghai-London Screen Industry Forum is no longer just a talking shop. It’s a launchpad, a bridge. And for British-Asian filmmakers and emerging talent, it’s a chance to turn ideas into reality.
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