Indie filmmaker Natalie Jasmine Harris has exposed Malia Obama for allegedly plagiarizing scenes from her award-winning film “Grace” in Obama’s Nike commercial debut, highlighting how celebrity privilege continues to overshadow genuine artistic talent in America.
Key Takeaways
- Independent filmmaker Natalie Jasmine Harris has accused Malia Obama of copying scenes from her 2024 short film “Grace” for a Nike commercial, particularly a pat-a-cake sequence with “shockingly similar” cinematography.
- Harris published side-by-side comparisons showing similarities in framing, lighting, pacing, shot list, and color palette between her film and Obama’s commercial.
- The two filmmakers previously met at the Sundance Film Festival where their respective works were showcased.
- Harris criticizes the industry’s preference for name recognition over original creators, pointing out that Nike hired Obama for her family connections rather than demonstrated filmmaking talent.
- Malia Obama, who has previously tried to distance herself from “nepo baby” labels, has not responded to the plagiarism allegations.
Side-By-Side Evidence Reveals Striking Similarities
Independent filmmaker Natalie Jasmine Harris has presented compelling evidence that Malia Obama, daughter of former President Barack Obama, copied distinctive scenes from her short film ‘Grace’ for a Nike commercial. Harris shared side-by-side video comparisons highlighting the remarkably similar cinematography, including nearly identical framing, lighting, pacing, shot lists, and color palettes. The controversy centers particularly on a scene featuring two young Black girls playing pat-a-cake, which Harris claims was replicated with suspicious precision in Obama’s commercial promoting Nike’s ‘The A’One’ sneaker.
Harris emphasized that her plagiarism claim goes beyond the simple inclusion of a childhood game. “It’s not about the game. It’s about the cinematic tools used to depict it,” stated Natalie Jasmine Harris, the independent filmmaker who directed ‘Grace’.
Malia Obama accused of plagiarism.https://t.co/JSe8uJw7ly pic.twitter.com/jxSQCZZKhv
— Tony Seruga (@TonySeruga) May 18, 2025
Another Case of Liberal Elite Privilege
This controversy exemplifies a broader problem with America’s elite class, where connections often matter more than merit. While conservatives have long faced barriers in Hollywood and creative industries, the children of Democrat politicians seem to receive special treatment. Harris pointed out this fundamental unfairness, questioning Nike’s decision to hire someone primarily for their family name rather than proven talent. The situation is particularly ironic given that Malia Obama has reportedly expressed a desire to drop her last name to avoid the “nepo baby” label that accurately describes her career path.
“If brands want a certain look, why not hire from the source instead of for name recognition?” said Natalie Jasmine Harris, drawing attention to the industry’s preference for celebrity connections over original talent.
The Nike commercial, which debuted on May 6 across SNKRS and TikTok platforms, represents Obama’s first major commercial directing work. Meanwhile, Harris’s film ‘Grace’, a coming-of-age story that has received acclaim on the independent film circuit, struggles for the recognition it deserves. The two filmmakers previously crossed paths at the Sundance Film Festival, where both had films in competition, raising questions about whether Obama may have been influenced by Harris’s work during that encounter.
The only reason seasoned director #MaliaObama got a gig directing a commercial for @Nike is because of her last name.
Like other #DEI and nepotism hires, lack of originality and/or outright plagiarism occurs often. pic.twitter.com/Yp4IJDJofV— Black & Right (@BobParksBnR) May 15, 2025
The Double Standard of Creative Recognition
President Trump has consistently highlighted the double standards that exist in our society, where the children of liberal elites receive opportunities denied to ordinary Americans. This case appears to be another example of that pattern. Harris described the emotional impact of seeing her creative work appropriated without acknowledgment. “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, explaining the impact of seeing her work seemingly copied.
“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, pointing to systemic issues in the creative industry.
As of this reporting, Malia Obama has not publicly addressed the allegations, and Nike has remained silent on the controversy. This silence is telling, as the evidence presented by Harris appears substantial enough to warrant a response. The situation highlights the ongoing challenges faced by independent creators in an industry where family connections and political affiliations often take precedence over genuine talent and original work.
