Malia Obama’s Nike commercial debut has sparked a plagiarism controversy as independent filmmaker Natalie Jasmine Harris presents damning side-by-side evidence showing “shockingly similar” scenes from her award-winning short film.
Key Takeaways
- Independent filmmaker Natalie Jasmine Harris has accused Malia Obama of plagiarizing scenes from her 2024 short film “Grace” for a Nike commercial
- Harris shared side-by-side video evidence showing similar framing, lighting, pacing, shot list, and color palette in scenes featuring two young Black girls playing pat-a-cake
- The controversy highlights broader industry issues where celebrity connections and name recognition are prioritized over supporting independent artists
- Despite previously expressing a desire to drop her last name to avoid “nepo baby” labels, Malia Obama appears to be benefiting from her family connections while facing criticism for lack of originality
- Nike and Malia Obama have not publicly responded to the plagiarism allegations
Visual Evidence Fuels Plagiarism Claims
Independent filmmaker Natalie Jasmine Harris has presented compelling evidence that Malia Obama, daughter of former President Barack Obama, copied key elements from her short film “Grace” for a Nike commercial. Harris shared side-by-side comparisons highlighting striking similarities in scenes featuring two young Black girls playing pat-a-cake, pointing to identical framing, lighting techniques, pacing, shot composition, and color palette. The similarities appear too numerous to be coincidental, raising serious questions about creative integrity in an industry where connections often matter more than originality.
Harris emphasized that her complaint goes beyond the basic concept of showing children playing a common game. “It’s not about the game. It’s about the cinematic tools used to depict it,” said Natalie Jasmine Harris.
The Nike advertisement, which debuted on May 6 on SNKRS and TikTok, promotes “The A’One” sneaker. Harris noticed the similarities immediately, finding it particularly troubling that both she and Obama had met at the Sundance Film Festival, where Harris’s film ‘Grace’ was competing. The timing suggests Obama would have had ample opportunity to view Harris’s work before creating the commercial that contains the disputed scenes.
Malia Obama accused of plagiarism.https://t.co/JSe8uJw7ly pic.twitter.com/jxSQCZZKhv
— Tony Seruga (@TonySeruga) May 18, 2025
Industry Nepotism Under Fire
The controversy has reignited debate about nepotism in the entertainment and advertising industries. While Malia Obama has reportedly expressed a desire to drop her last name to avoid being labeled a ‘nepo baby,’ critics point out that her rapid rise in the film industry appears directly connected to her family name and connections. Harris did not mince words when addressing how major brands consistently choose famous names over genuine talent, regardless of who might be more deserving or original.
“If brands want a certain look, why not hire from the source instead of for name recognition?” said Natalie Jasmine Harris.
Harris further clarified that her frustration extends beyond this specific incident to highlight a systemic problem in the creative industries. Her film ‘Grace’, a coming-of-age story that received positive feedback on the independent film circuit, represents the exact type of original storytelling that often gets overlooked in favor of safer bets on established names. The situation exemplifies how difficult it remains for talented creators without famous connections to receive proper recognition or opportunities.
Silence From Nike and Obama
As of this reporting, neither Malia Obama nor Nike has issued any formal response to the plagiarism allegations. This silence has only fueled further speculation and criticism from industry observers who see this as yet another example of how the well-connected remain insulated from consequences that would typically affect less-privileged creators. The controversy comes at a time when conversations about authentic representation and opportunity in creative fields have reached new heights.
“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 made it clear that her criticism is directed primarily at the industry rather than personally attacking Obama. However, the parallels between the works appear significant enough that many in the film community are calling for acknowledgment at minimum, if not compensation for drawing so heavily from Harris’s creative vision. The situation highlights broader concerns about how originality is valued—or devalued—in an industry increasingly dominated by name recognition and connections rather than raw creative talent.
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
Broader Industry Implications
This controversy represents more than just an isolated incident between two filmmakers. It exemplifies the uphill battle independent creators face when competing against those with established family names and industry connections. Despite the progressive rhetoric often embraced by major brands like Nike, their actions in hiring decisions tell a different story—one where opportunity continues to flow disproportionately to those already privileged with access rather than those demonstrating unique creative vision.
“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 social media continues to amplify the side-by-side comparisons between Harris’s ‘Grace’ and Obama’s Nike commercial, pressure mounts for some form of acknowledgment from either Nike or Obama. The incident serves as a stark reminder that despite progress in conversations about creative integrity and opportunity, the entertainment and advertising industries still have significant work to do in creating truly level playing fields that reward original talent rather than familiar family names.
