If making a tv series thats anti your warmongering neighour makes you anti-semetic then Hollywood leads the way not the arabs.
The white man and the jew have been knocking the arabs forever in our films and its sheer hypocrisy to use this Al-Shatat to prove a point.They're doing no more than copy what we've done since discovering cinematography.

Reel Bad Arabs:
How Hollywood Vilifies a People
by Jack G. Shaheen
New York, Olive Branch Press, 2001

Reel Bad Arabs provides an in-depth look at how Hollywood has consistently denigrated Arabs in movies over the last hundred years. Author Jack Shaheen (professor emeritus of mass communications at Southern Illinois University and the world�s foremost authority on media images of Arabs) examines more than 900 feature films and describes the negative portrayal of Arab characters in each. "Reel Arabs," as Shaheen calls the Hollywoodized version of people from the 22 Arab states, are murderers, rapists, terrorists, hijackers, religious fanatics, and greedy oil-millionaires. They are bearded, camel-riding, harem-overseeing, bumbling, swarthy, hateful, crazy, and obnoxious. Almost entirely absent from the big screen are ordinary Arabs�the "man who works ten hours a day, comes home to a loving wife and family, plays soccer with his kids, and prays with family members at his respective mosque or church."

Hollywood�s worst treatment, Shaheen argues, is reserved for Muslim Arabs. "Today�s imagemakers," writes Shaheen, "regularly link the Islamic faith with male supremacy, holy war, and acts of terror, depicting Arab Muslims as hostile alien intruders, and as lecherous, oily sheikhs intent on using nuclear weapons. When mosques are displayed onscreen, the camera inevitably cuts to Arabs praying, and then gunning down civilians."

While the negative stereotyping of Arabs in American movies is nothing new (it began in the early 1900s), the practice took on a new viciousness toward the end of the century. This trend is evidenced by movies such as True Lies (1994), G.I. Jane and Operation Condor (1997), and The Siege (1998). In True Lies, the all-American hero, played by Arnold Schwarzenegger, prevents a group of pyschotic-yet-idiotic Arabs from destroying the United States with nuclear weapons. In G.I. Jane, Demi Moore plays an enlisted Navy woman who has to prove her mettle by killing scores of Arabs. Jackie Chan, in Operation Condor, battles evil Arabs as he attempts to recover a chest of gold hidden by the Nazis at the end of World War II. And in The Siege, heroes Bruce Willis and Denzel Washington outwit a group of Arab Muslims planning to bomb New York City.

Particularly racist depictions of Arabs have been presented by the American film company Cannon, which was co-founded by Israeli producers Yorum Globus (former director of Israel�s Film Industry Department) and Menachem Golan. By the end of the 1990s, Cannon had released twenty-six "hate-and-terminate-the-Arab" movies; three of the most notorious being Hell Squad (1985), The Delta Force (1986), and Killing Streets (1991). In those films, Palestinians were killed by Las Vegas showgirls, U.S. Marines, and U.S. Special Forces, respectively.

What is the consequence of this steady stream of negative portrayals of Arabs and Muslims? According to Shaheen, the movie stereotypes contribute to a climate of Arab-hating�that the substitution of "reel Arabs" for "real Arabs" dehumanizes Arabs and makes them vulnerable to mistreatment. Shaheen draws the parallel between past cinematic abuses of Asians and the ease with which the American people accepted the imprisonment of more than 100,000 Japanese Americans during World War II. He makes a similar case for the prior demonization of African Americans, American Indians, and Jews on the silver screen, and the injustices that have been done to those groups of people. While it is no longer fashionable to discriminate against the aforementioned groups on screen, Shaheen claims, Arabs remain fair game. He draws a connection between unsavory Arab film images and the more than 300 hate crimes committed against Arabs in the direct aftermath of Timothy McVeigh�s bombing of the Federal Building in Oklahoma City in 1995 (Arabs were initially suspected by law enforcement officials in the incident).

Shaheen makes the following recommendation to Hollywood movie-makers: "The time is long overdue for Hollywood to end its undeclared war on Arabs, and to cease misrepresenting and maligning them. All I ask of filmmakers is to be even-handed, to project Arabs as they do other people�no better, no worse. They should enjoy at the very least relative immunity from prejudicial portrayal."