Independent filmmaker Natalie Jasmine Harris has accused Barack Obama’s daughter Malia of blatantly plagiarizing scenes from her 2024 short film “Grace” for a Nike commercial, exposing the industry’s preferential treatment of celebrities with powerful connections.
Key Takeaways
- Filmmaker Natalie Jasmine Harris claims Malia Obama’s Nike commercial contains “shockingly similar” scenes to her short film “Grace”
- Harris provided side-by-side video comparisons highlighting similarities in framing, lighting, pacing, shot list, and color palette
- The two filmmakers met at the Sundance Film Festival where their respective works were featured
- Harris criticized the industry pattern of hiring based on name recognition rather than originality or talent
- Malia Obama, who previously expressed desire to drop her famous last name, has not responded to the allegations
Plagiarism Allegations Surface Against Former First Daughter
Malia Obama, daughter of former president Barack Obama, finds herself embroiled in controversy as independent filmmaker Natalie Jasmine Harris has publicly accused her of copying elements from Harris’s 2024 short film “Grace” for a Nike commercial. The allegations specifically target a scene featuring two young Black girls playing pat-a-cake, which Harris claims mirrors her own work in cinematography, framing, and execution. The controversy highlights a recurring pattern where well-connected individuals with famous names receive opportunities at the expense of original creators in the entertainment industry.
Harris shared a detailed side-by-side comparison video highlighting the similarities between her work and Obama’s Nike commercial, which debuted on May 6 on SNKRS and TikTok. The comparison revealed striking resemblances in multiple technical aspects including camera work, lighting choices, and overall aesthetic approach. Harris emphasized that her criticism extends beyond the simple concept of children playing pat-a-cake to the specific cinematic techniques employed to capture the scene.
Industry Favoritism Under Scrutiny
The controversy raises important questions about how opportunities are distributed in the entertainment and advertising industries. Rather than directly attacking Malia Obama personally, Harris has focused her criticism on the broader pattern of corporations like Nike choosing famous names over original talent. Harris and Obama’s paths had crossed previously at the Sundance Film Festival, where both showcased their directorial work, making the alleged copying particularly pointed. The situation exemplifies the uphill battle faced by independent creators without powerful family connections or established industry networks.
“It’s not about the game. It’s about the cinematic tools used to depict it,” said Natalie Jasmine Harris
The irony of the situation is further highlighted by reports that Malia Obama had previously expressed a desire to drop her famous last name to avoid being labeled a “nepo baby” – industry slang for those who benefit from family connections. Despite this stated desire for independence, Harris suggests the Nike commercial opportunity came to Obama precisely because of her family name rather than original creative vision. This contradiction underscores the frustration many independent artists feel when watching opportunities flow to those with established connections.
Broader Industry Critique
Harris has been careful to frame her criticism as a structural industry problem rather than a personal attack on Obama. Her public statements emphasize how corporations repeatedly prioritize name recognition over authentic, original voices – a practice that ultimately stifles creativity and innovation in the arts. The dynamic creates a system where independent creators invest significant personal resources into developing unique artistic visions, only to see their ideas appropriated by those with privileged access to major commercial opportunities.
“It speaks to a larger issue of brands not supporting independent artists and opting for folks who already have name recognition, which doesn’t breed innovative films or original storytelling,” said Harris
As of this writing, neither Malia Obama nor Nike has issued any public response to Harris’s allegations. Harris’s film “Grace” had received positive feedback on the independent film circuit before this controversy erupted. The silence from Obama’s camp leaves many questions unanswered about how the creative process for the Nike commercial developed and whether there was any acknowledgment or inspiration drawn from Harris’s work. This lack of transparency only reinforces perceptions of an industry that protects privileged insiders while dismissing legitimate concerns from independent creators.
