Since September 11, 2001, several TV dramas, notably Fox's *24*, have depicted the War on Terror, showing U.S. agencies heroically battling terrorism. *24*, centered on Jack Bauer, faced criticism from the Council on American-Islamic Relations (CAIR) for perpetuating stereotypes of Arabs and Muslims as terrorists. Despite CAIR's objections, supporters argued that such portrayals reflected societal issues during the War on Terror. The creators of *24* attempted to counteract negative stereotyping by including sympathetic Arab and Muslim characters, showcasing them as patriotic Americans or innocent victims of hate crimes. For instance, characters like Nadia Yassir and Arab American brothers in the fourth season portrayed positive images, while the show also humanized terrorists by presenting them in familial contexts. Additionally, the show employed strategies like flipping the enemy narrative to highlight international dimensions of terrorism, showing that not all threats originate from Arab or Muslim identities. While *24* sought to diversify portrayals and shine a light on the complexities of character identities, its core narrative remained entrenched in the context of terrorism, leaving an enduring perception of Arabs and Muslims linked to threats against national security. This representation strategy can create a misleading impression of racial progress without addressing the real issues of institutionalized racism faced by Arabs and Muslims, especially post-9/11, where hate crimes against them rose significantly. Overall, while *24* made strides in representing Arab and Muslim identities, the dominant narrative continued to shape public perceptions in ways that reinforced stereotypes rather than fully dismantle them.

The second season of BET’s *Being Mary Jane* features an episode with a soundtrack solely by Erykah Badu, reinforcing the narrative and resonating with the experiences of its black audience. The show highlights the importance of cultural specificity, which is championed by series creator Mara Brock Akil and her husband Salim Akil, as a way to create authentic black characters and narratives. This approach contrasts with colorblind casting, which fails to acknowledge the cultural complexities of characters. Rather than merely making characters black, *Being Mary Jane* emphasizes their unique experiences and identities, making them relatable and dimensional. The show depicts the main character's struggles and successes in a manner that resonates with black women, reflecting their realities. By using cultural specificity, the show moves beyond stereotypes, acknowledging the richness of black identities instead of reducing them to oversimplified portrayals. The series' success is attributed to its authentic representation, allowing black audiences to see themselves reflected in a more complex and human manner, developing a genuine connection with the characters.

*Orange Is the New Black* (OITNB), created by Jenji Kohan and based on Piper Kerman's memoir, depicts women prisoners in a federal penitentiary, focusing on the diverse lives of inmates as well as prison staff. Unlike traditional dramas that center solely on the protagonist, Piper Chapman, the series uses intersectionality to analyze various identities, illustrating how different social categories (like race, gender, and class) intersect to shape experiences and agency within the prison system. The episode "Lesbian Request Denied" highlights the backstory of Sophia Burset, a black transwoman and hairdresser, showcasing her complex identity as she navigates societal and institutional challenges. Through Sophia's experiences of privilege and oppression compared to Piper's, the show urges viewers to understand the intertwined nature of different identities and their impact on individuals' social status. OITNB’s goal is to eliminate oppression and promote equality by exposing the hierarchical structures influencing identity formation and opportunities.