The Exiles of Tehrangeles

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Shohreh Aghdashloo recalls the taste of irony, as blood from a wound on her head trickled down after she was pelted with stones during a demonstration advocating for democracy in Tehran. The event took place in 1979, amidst Iran’s Islamic Revolution turmoil. At that time, she was 26 years old.

She remembers that the sky looked like it was filled with rocks. She felt incredibly furious and helpless at the time. In that instant, she made up her mind to depart.”

“Looking back, she could see that the sky seemed to be packed with stones. At that moment, she was enraged and completely overwhelmed. It was then that she decided it was time for her to go.

She slipped away during the darkness, navigating her path through Istanbul, then Yugoslavia, and on to Paris, ultimately finding a home in London, and finally establishing herself in Hollywood.

She’s never returned. “I am banned,” she explains. “If I do, they will kill me.”

After the latest Israeli and American air attacks against Iran, considered the most significant conflict between Iran and the West in years, the Oscar-nominated actress was reminded of her own exile. However, this time her feelings of sadness and anxiety were mixed with a brief sense of hope for change that soon turned into disappointment.

According to Aghdashloo, wars are characterized by destruction and sorrow. However, this conflict has elicited complex emotions within her, such as a glimmer of hope for Iran’s freedom. Regrettably, it seems that the iron grip of the regime in Iran has only grown stronger.

Following the delicate truce between Israel and Iran, various Iranian artists based in Hollywood and beyond continue to navigate the complex cultural and emotional repercussions.

Amidst the ongoing debates about immigration and diversity in the U.S., these individuals’ narratives illustrate the complex task of preserving an identity deeply connected to a homeland that is frequently criticized in Western societies, while simultaneously portraying it with compassion and accuracy. Balancing between assimilation and protest, they demonstrate how the new generation is employing storytelling to reframe the concept of being Iranian-American.

Or, more concisely:

In the midst of cultural conflicts surrounding immigration and acceptance in America, these stories highlight the struggle of maintaining an identity deeply rooted in a homeland often condemned in the West, while simultaneously presenting it with understanding and truthfulness. Straddling between belonging and protest, they showcase how a new generation is using storytelling to redefine what it means to be Iranian-American.

For numerous individuals, the conflict caused a shattering of optimism concerning regime transition, simultaneously rekindling apprehensions about growing prejudice influencing politics and media. Moreover, it exposed underlying strains within the American Iranian community – currently numbering approximately 500,000, making it the largest outside Iran.

Aghdashloo has shared that her accent and Middle Eastern heritage have not held her back, rather, she’s portrayed strong women who were molded by historical events yet remained architects of their own fates. Her role as a terrorist on the series “24” sparked criticism from the diaspora; however, she embraced the opportunity to bring such a multi-dimensional character to life.

Nonetheless, she expresses concern that recent strife might lead us back to the simplistic portrayals of antagonists, similar to those prevalent during the 1980s and 1990s post-Iran hostage crisis. “I sincerely pray with all my heart that such a scenario will not unfold,” she remarks.

If depicted as a movie, the tale of the Iranian diaspora would be a grand saga, characterized by oppression, displacement, and transformation. The narrative could begin in 1979, when a lavish monarch, known for his fascination with Hollywood, even hosting Elizabeth Taylor and Richard Burton at Tehran’s Niavaran Palace, was overthrown in Iran by the Ayatollah Khomeini. This event triggered a mass exodus of tens of thousands into exile.

A significant number of people moved to Southern California, finding a unique blend of boisterous creativity and beachgoers in bikinis that stood out sharply against the clergy back home. Over time, Persian markets, bakeries, and synagogues popped up all over Los Angeles, catering to the Iranian Jewish community, particularly in neighborhoods like Westwood, Beverly Hills, and Pico-Robertson. This region became known as “Tehrangeles” due to its strong connection to Tehran.

Some first-generation Iranian American parents encouraged their kids to pursue careers as doctors, lawyers, or engineers, but others found the glamour of Hollywood irresistible.

Actress Shohreh Aghdashloo received an Oscar nomination for the category of Best Supporting Actress in the movie “House of Sand and Fog” released in 2003. Bob Yari was involved in producing the film “Crash,” which came out in 2004 and won the award for Best Picture. Maz Jobrani and Nasim Pedrad have opted to use biting humor as their primary means of artistic expression.

Like Aghdashloo, comedians Jobrani and Pedrad have also been shaped by the rupture of exile.

Jobrani left Iran as a young child and settled in California at the age of 6. In his twenties, this ardent fan of Eddie Murphy decided to abandon his Ph.D. studies in political science at UCLA to focus on stand-up comedy instead. This choice dismayed his Iranian mother, who had envisioned him becoming a doctor or, at the very least, a mechanic. “Everyone needs a mechanic,” she said to him. “There’s no need for a comedian!

One of his initial significant opportunities was starring in a television movie featuring Chuck Norris, where he portrayed a “terrorist manufacturing bombs who was attempting to lay low in Chicago while wearing a turban.” However, he objected to this characterization, arguing that a terrorist wouldn’t wear a turban. His objections were disregarded, and he accepted the role. Subsequently, he became anxious, reaching out to Norris pleading him not to release the movie. According to him, Norris chose not to respond.

Over a period of twenty years, Jobrani has climbed high in comedy by poking fun at worn-out stereotypes and drawing on his personal feelings of being an immigrant.

At the Hollywood Improv a week following the initial Israeli air strikes, he humorously expressed: ‘I’m both Iranian American – some of me likes me, others don’t. One part of me feels we should have nuclear capabilities, but another doubts if I can handle that responsibility.’

Jobrani praises Mindy Kaling, Pedrad, and Ramy Youssef for changing the way minorities are portrayed in Hollywood. However, he expresses concern that recent events have sparked concerns about a reversal of these positive representations. He cautions that individuals like Laura Loomer, who spread misinformation about Iranian sleeper cells in the U.S., could ignite xenophobic aggression.

As I embarked on my Axis of Evil comedy tour, showcasing talented comedians from the Middle East post-9/11, audiences across the U.S. and Middle East were captivated. However, when it comes to crafting a new Ayatollah-themed act, I find myself at a standstill. A 12-day war in Iran may not yield as much material as one might think, considering many Americans still struggle to identify the country’s leaders.

Still, Iran is never far from his mind.

“It’s exhausting. Iran is always in the news,” he muses. “Sometimes I wish I were Swedish.”

The emotional burden resonates with Pedrad, the comedian and writer, who has played a significant role in shaping the portrayal of being an Iranian-American on TV. She confessed that she felt “emotional conflict” following the latest conflict.

She expresses a sense of hope that we’ve reached a critical point with this oppressive system, but also cautions, recognizing past instances, about the likelihood of more violence and suppression following such moments.

Pedrad made history by becoming the first Iranian-American cast member on Saturday Night Live, and later broke boundaries by portraying a socially awkward 14-year-old Persian-American boy in the sitcom Chad. This show was one of the earliest TV series to center around an Iranian-American family.

Originally from Tehran but brought up in California, Pedrad maintains ties with her family in Iran. She played an active role during the 2022 Woman, Life, Freedom movement, and is now working on a project inspired by this experience. Furthermore, she asserts that even oppressive regimes like the Islamic Republic of Iran can serve as a spark for comedy: “Despite finding nothing amusing about the Islamic Republic of Iran, humor and satire – much like all forms of art – are means we employ to understand and cope with our world.

Pedrad expresses that the show “Chad” marked a significant turning point for someone like herself, who is Persian-American. She explains, “Growing up, I seldom saw Persians on TV, and even rarer were those characters that seemed to be written with empathy or a sense of humanity.

She also notes that the emergence of well-rounded Iranian American narratives is indicative of the relatively recent nature of the diaspora. “My parents’ generation,” she explains, “fled a revolution and sought refuge in this country primarily to establish some semblance of safety and assimilation.” For them, survival was paramount. However, for me, it was more about, ‘Alright, we’ve survived — thanks to my efforts, I suppose — now how can I become a sketch comedian?’ It’s quite a dramatic shift in priorities within one generation.

Through Jobrani, Pedrad, and others, the depiction of Iranian-Americans within popular culture has significantly evolved, influencing both their self-perception and societal viewpoint. However, recent disputes have exposed distressing rifts, as these religious, political, and generational schisms grew increasingly pronounced amidst Israel and America’s aerial bombardment of Iran, and the destruction in Gaza demanded introspection.

During a recent anti-Iran rally outside the West L.A. Federal Building, protesters donning “Make Iran Great Again” caps played Persian tunes and brandished both American and Israeli flags, urging for a change in government. Some were concerned that Israeli air strikes might instead strengthen Iran’s conservative factions.

Mark Amin, one of the notable Iranian-American producers in Hollywood, shares from his office adorned with film posters that there has been a profound cultural affinity between Muslim and Jewish members of the Iranian diaspora for quite some time. This connection stems from the shared ordeal of exile, a mutual language, Farsi, and a united resistance against the Iranian government.

Regardless, it’s worth mentioning that the conflict in Gaza remains divisive, despite the fact that the majority of Iranian-Americans disapprove of their government’s backing of organizations such as Hamas and Hezbollah.

Amin, who immigrated to the U.S. in 1967 and went from managing video stores to producing movies like ‘Frida’ and ‘Girl Most Likely’, is currently undergoing a tough period. Notably, he recently served as an executive producer for ‘The Apprentice’, a Trump biopic that received praise at Cannes. His sister escaped Tehran by taxi following Israeli air strikes that devastated a neighboring home.

The 12-day conflict has highlighted a rift among the Iranian diaspora. Many Iranian Jews perceive Israel as a vital balancing force against Iran and its regime, which has historically proclaimed “Death to Israel.” On the other hand, this war sparked strong emotions of anger and unity among many Muslim Iranian Americans concerning the destruction in Gaza. While their support for Palestinian rights doesn’t automatically mean backing Iran’s Islamic Republic, it influences how they perceive the conflict.

The dispersed community of Iranians showcases an exceptional variety, and their political and generational viewpoints frequently cross religious boundaries. For instance, numerous Muslim Iranian-Americans vehemently denounce Hamas, while progressive Iranian-American Jews are known for being some of Netanyahu’s toughest critics. One point seems evident: Both groups express a strong yearning for a liberated and democratic Iran, although they may not always agree on the methods to achieve this goal.

But the carnage in Gaza has made public expressions of solidarity more fraught.

jobrani expressed deep sadness following the October 7th attacks and found it difficult to find humor concerning Israel. However, he managed to create a joke involving a parking attendant addressing him as “Hamaz”, which was daring but received laughter.

Ava Lalezarzadeh, an actress of Jewish-Iranian American descent, recently graced the stage on Broadway in a Pulitzer Prize-winning play called “English“, which focuses on four Iranian adults studying for an English exam. Behind the scenes, she’s been managing her various identities.

As a gamer, I find myself deeply connected with two distinct groups: one rooted in Persian culture, whose family resides in the lands of Iran, and another from Israel, where their loved ones dwell. Witnessing the pain, struggle, and fear that these communities experience is truly heart-rending.

She spent her childhood living approximately 90 minutes to the east of Los Angeles in a household that was both Persian and Jewish. Her parents had left Iran back in 1988 during the Iran-Iraq War. As she recounts, they felt discrimination from the government, but they never experienced it from their neighbors.

During the bombings in Iran that occurred in June, Lalezarzadeh mentions that many Jewish Americans from her parents’ generation held a desire for regime change, despite feeling sorrow as they witnessed their childhood lands being attacked. They expressed concern for the safety of innocent people and didn’t want to see their old neighborhoods destroyed by bombs.

As a gamer, I’ve noticed a significant divide in beliefs within my Persian Jewish community, stemming from the historical traumas of religious persecution. This chasm is particularly apparent when contrasted with my diverse, artistic circle of non-Jewish Middle Eastern companions.

In certain Jewish communities, there’s often a failure to recognize the power imbalance and show empathy for the extensive hardships, deaths, and famine in Gaza. She points out that this is also true for Persian Jews who have fled Iran, as they carry their own traumas with them. Additionally, she expresses concern over casual prejudice towards Israelis. She notes that there’s a tendency to equate the Israeli government with the Israeli people, and their perspectives are also influenced by their past traumas.

As a gamer, I’ve drawn inspiration from my family’s narrative not just in real life but also in my creative works. In the 2023 short film I wrote titled “In the Garden of Tulips“, I brought to life my mother’s daring escape from Iran at the age of 15. It’s fascinating how a close-knit group of us Persian Jewish artists are weaving our family histories into our art.

Nazanin Nour, aged 25 and an Iranian-American actress, comedian, author, podcaster, and activist, is the host of Mehmooni, a podcast highlighting perspectives from Iran. She expresses regret that Hollywood and the media often portray inaccurate images of Iran, and notes that Iranians are underrepresented on American screens.

Regardless of her entry, she’s often met with comments saying she doesn’t appear “typically Iranian.” She inquires, “By whom am I being judged that I don’t resemble an Iranian?

In much the same way as many of her contemporaries, she is driven to generate art that underscores acts of rebellion and dissent within Iran. Her most recent endeavor involves the creation of a full-length adaptation of the short film titled “Forbidden to See Us Scream in Tehran“, directed by Iranian filmmaker Farbod Ardebili. This production tells the story of a punk band fronted by a female vocalist, who bravely challenges Iran’s prohibition on women performing independently.

She notes that the art within Iran displays both resilience and beauty among its people, and serves as a means for them to challenge the government.

As a gamer, I’d say: Growing up as a child of Iranian immigrants in the aftermath of 9/11 wasn’t easy. My parents bravely left Iran for London in 1980, escaping potential danger, with me, their newborn baby, in tow. Later on, just like Nazanin Boniadi, I used my presence to reshape the way Iranian-Americans were perceived in the media.

Initially gaining prominence on the series ‘Homeland’, Fara Sherazi was portrayed as a resilient and principled American CIA analyst who wears a hijab. Balancing her identity as a Muslim woman with her American heritage, she courageously battles Islamic extremism without ever compromising her ethical standards.

Boniadi expresses disappointment that many in the West don’t understand that the majority of Iranians disavow the Islamic Republic. She also criticizes those who fly the regime’s flag while protesting against Israel: “If you aim to stop conflict, don’t wave the banner of our oppressors.”

“If you’re trying to prevent war, don’t hoist the flag of those who oppress us.

She’s concerned that the media presenting Iran as a threatening adversary might lead to biased characterizations of Iranian characters in Hollywood narratives.

Although her portrayal of Fara was groundbreaking, she points out that the use of a headscarf in the character highlighted how Hollywood can rely on simplistic cultural indicators. As the child of exiles who disapproves of the regime, she believes the character would have been more authentic as a secular woman. In Iran, she explains, the hijab carries symbolic significance as a representation of the government’s power over women’s bodies.

Boniadi expressed her gratitude for getting that role, noting that it was revolutionary to depict a Muslim woman in such a manner at the time. However, she attempted, but failed, to resist wearing a hijab for the part.

She advocates for a more complex representation of Middle Eastern characters in Hollywood productions. “To be honest, I might hesitate or even refuse to accept a role that doesn’t authentically portray the Iranian community.

Currently, Boniadi enjoys embodying characters not tied to her ethnic background. In Amazon’s grand production The Lord of the Rings: The Rings of Power, she plays Bronwyn, a villager who is both a healer and a single mother – without any accent, no religious head covering, and no Middle Eastern identity.

Widely speaking, Iranian-American artists aspire for a time when Iran is not routinely associated with religious rule, aggression, and extremism in American pop culture.

Jobrani comments, ‘They constantly display explosions on screen.’ I’d love to watch a program that features Mohammed from Iran making cookies instead,” Jobrani expresses his desire.

I stumbled upon an interesting tale in the latest edition of The Hollywood Reporter Magazine, published on July 23. If you’d like to keep up with such captivating stories, consider subscribing here!

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2025-07-25 15:56