Former First Daughter Malia Obama has been accused of plagiarism in her Nike commercial debut, raising questions about nepotism and the treatment of independent artists in an industry that critics say rewards family connections over original talent.
Key Takeaways
- Independent filmmaker Natalie Jasmine Harris has accused Malia Obama of plagiarizing scenes from her 2024 short film “Grace” for a Nike commercial Obama directed
- Harris provided side-by-side comparisons showing “shockingly similar” scenes, particularly those featuring young Black girls playing pat-a-cake with identical framing, lighting, and color palette
- The controversy highlights industry practices favoring name recognition over original creators, as both filmmakers previously met at Sundance Film Festival
- Despite Malia Obama’s reported desire to drop her last name to avoid “nepo baby” labels, Harris points to this situation as evidence of privilege over merit in creative opportunities
- Nike and Malia Obama have not responded to the plagiarism allegations
Stark Visual Similarities Trigger Plagiarism Claims
Independent filmmaker Natalie Jasmine Harris has publicly accused Malia Obama of copying elements from her short film ‘Grace’ for a Nike commercial. Harris shared comparative footage showing scenes from her film alongside Obama’s commercial, highlighting striking similarities in scenes where young Black girls play pat-a-cake. The footage reveals nearly identical framing, lighting techniques, pacing, shot selection, and color schemes, suggesting more than coincidental resemblance between the two productions.
Harris emphasized that her complaint goes beyond the simple inclusion of a common childhood game. It’s not about the game. It’s about the cinematic tools used to depict it, said Natalie Jasmine Harris. Particularly troubling is that both filmmakers had previously crossed paths at the Sundance Film Festival, where Harris’s film competed with Obama’s debut work, suggesting Obama may have been familiar with Harris’s cinematic approach before creating the Nike commercial.
Malia Obama accused of plagiarism.https://t.co/JSe8uJw7ly pic.twitter.com/jxSQCZZKhv
— Tony Seruga (@TonySeruga) May 18, 2025
Nepotism Versus Merit in Creative Industries
The controversy has reignited discussions about preferential treatment for those with famous family names in creative industries. Despite Malia Obama reportedly wanting to distance herself from her family name to avoid ‘nepo baby’ labels, Harris points out that Nike likely hired Obama primarily for her famous surname rather than her directorial talents. The commercial promoting ‘The A’One’ sneaker debuted on May 6 on SNKRS and TikTok, representing Obama’s first major commercial project.
“If brands want a certain look, why not hire from the source instead of for name recognition?” said Natalie Jasmine Harris.
Harris clarified that her frustration extends beyond Obama personally to the systemic issues in an industry that consistently overlooks independent artists in favor of established names. This pattern perpetuates a cycle where truly innovative voices struggle for recognition while those with connections receive opportunities regardless of their creative track record. The lack of response from both Nike and Malia Obama to these allegations has only intensified scrutiny of what appears to be preferential treatment.
Impact on Independent Creators
For Harris, whose film ‘Grace’ is a coming-of-age story that received positive feedback on the independent circuit, the alleged copying represents more than personal disappointment. It symbolizes the broader struggles of independent artists who invest deeply in their craft only to see their work appropriated by those with more powerful industry connections. The emotional and professional toll on creators who face such situations cannot be understated.
“It’s devastating. I know art overlaps, but when you pour your heart into telling stories with care and barely get recognition, it stings,” said Natalie Jasmine Harris.
Harris has pointed to a larger systemic issue within creative industries where major brands consistently bypass supporting independent artists in favor of individuals with established name recognition. 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, Harris noted. This practice ultimately stifles creative innovation and undermines the diversity of voices and perspectives in media and advertising.
