Kaamil Shah is primarily recognized for crafting and writing ITV’s Count Abdulla, yet beyond this acclaimed work, the writer harbors numerous story concepts he yearns to materialize on screen. Additionally, he advocates for changes in the industry to foster greater support for Muslim and South Asian creative talents.
Back in 2023, the captivating six-part series graced our screens. If only I could have chatted with Shah for my Pass the Mic interview, delving into the intricacies of the third or fourth season of his hilarious brainchild helmed by Arian Nik. Yet, during a recent conversation, he shared an interesting perspective – having had enough time to reflect, he now believes we’ve created something truly special that will stand the test of time.
The show centered around Abdulla Khan, a junior doctor of British-Pakistani descent who was turned into a vampire with a unique preference for halal blood. However, it’s following his transformation into a vampire that Abdulla begins to grapple with his personal identity, balancing the spheres of his friends and colleagues on one hand, and his comic religious mother, brilliantly portrayed by Nina Wadia, on the other.
The concept for the comedy originated from Shah admitting he was “being foolish.” He disclosed this, adding that he held onto the idea for a decade. At first, Shah envisioned it as a web series, drafting scripts and arranging for his friends to film a YouTube pilot. However, when the day arrived, no one showed up. Shah mentions that he’s grateful in a way that the shoot didn’t happen because it allowed him to develop it into a half-hour comedy instead.
My work has served as a distinctive mark in my field, leading me to secure my initial agent, present one, and even gain an opportunity with Fudge Park – a company renowned for producing comedic masterpieces like The Inbetweeners. They approached numerous comedy broadcasters during their time, but initial rejections were common until ITV finally agreed to take it on.
I didn’t anticipate our concept would air on ITV, but fortunately, the commissioner took a strong liking to it. They were enthusiastic and supportive, which led to the creation of the show approximately six years after the original idea. The journey from idea conception to the screen was a lengthy one.
In that period, ITV was eagerly preparing for the debut of ITVX and sought a unique and innovative concept unlike anything they had previously produced. Thus, it presented an ideal moment for the revival of Count Abdulla.
Shah expresses that writing the six episodes marked “one of the most memorable years of my life” by creating a narrative that delved deeper into issues of identity. He describes this story as exploring the complexities of being a vampire and a Muslim, an outsider in both realms. This compelling tale tackles Islamophobia within society at large, as well as personal struggles within one’s own community.
If you haven’t seen this series yet, you might find it striking how skillfully it explores the complexities of growing up as a young Muslim of South Asian descent in the United Kingdom. It’s quite remarkable that such a comedic show can also shed light on these profound themes.
I must say, we aimed for much more. We truly believed that we had created an exceptional show at the time it was made.
As a passionate film enthusiast, I must confess that our latest production was a labor of love, brimming with heart and soul. We dared to venture into uncharted territory, crafting compelling narratives around Muslim and Asian characters, a narrative exploration seldom attempted before. Yet, for some unexplained reason, it seems the world didn’t fully recognize or acknowledge this innovative aspect of our film.
He goes on to say: “I believe it was somewhat confined within the genre of ‘charming comedy’, which it certainly is – light-hearted and amusing. However, during its initial release period, it didn’t gain as much traction as we had hoped for.
The decision not to renew was a prolonged one, with Shah attributing it to the need for handling labor disputes (strikes) in the U.S., as well as changes in the television market.
Many individuals at ITV were enthusiastic about the show and wished to produce it, however, it was an extremely difficult period to renew such a program. Despite this, it managed to attract a substantial audience – I can’t disclose the specific figures, but they were likely appealing to numerous broadcasters. However, ITV is quite competitive in its field. We understand that they could not proceed with it, but we had more stories to share.
Now, Shah is currently working on a forthcoming spin-off titled “The Divorce Law Circuit: Kishan Dynasty,” based on BBC’s The Split. This series was first announced in 2024 and is set to explore the intense legal world of Manchester’s divorce law scene, where the powerful Kishan family, renowned lawyers themselves, hold sway, as per its official description.
Reframing the narrative, Shah’s work consistently encompasses and champions the Indian and Pakistani diaspora in Britain. In a unique setup for his production titled The Split Up, Shah found himself as the sole male collaborator alongside Sonali Bhattacharyya and Sumerah Srivastav. This distinctive position allowed him to boldly address and advocate for the often-unrepresented British Asian male perspective, asserting “we can be passionate too.
In his capacity as an episodic author, Shah finds the journey extraordinary. His upcoming work, titled “The Split Up,” is poised to serve as a remarkable contribution to the artistic realm of South Asians, given the immense success that The Split previously enjoyed within this community.
As a passionate film lover, I believe that our unique imprint on this captivating series could serve as a valuable bridge for viewers who might initially be hesitant due to the predominantly South Asian cast. By associating it with The Split brand, we can lend it an air of authenticity and credibility in the eyes of this audience. My hope is that this connection will enable us to broaden our reach significantly, appealing to a diverse and vast array of people everywhere.
According to reports, the series creator Abi Morgan has actively contributed to the project. Shah, in his comments, refers to Morgan as particularly generous, not only with her time but also by providing a platform for British Asian creative individuals. Furthermore, she’s credited with adapting her exceptional format in collaboration with these creatives.
As you wait for each episode of The Split Up, know that it promises to draw us in with its compelling drama right from the start.
Shah shares, “I’ve joined forces with a unique group of divorce lawyers who are British Asian in Manchester. This show is breaking new ground by portraying diverse aspects of the British Asian community on screen. Frankly, I find it incredibly captivating.” He continues, “I’m immensely proud to be part of a production that offers authentic moments of love, conflict, and excitement for British Asians – from messy relationships and drama, to secret affairs and plenty of fun.
Embracing The Split Up project has been not only thrilling but a significant chance for me to enrich the storyline with complex, attractive characters from underrepresented communities. It’s a mission close to my heart, one I’ve felt passionately about for quite some time. Interestingly, this resonated deeply with Count Abdulla too, making our collaboration even more meaningful.
In simpler terms, Shah expresses that it’s important for our community to portray ourselves as appealing, unique, and complex, not just focusing on deep-rooted issues such as racism or honor killings. He suggests that sometimes, due to the lack of representation, we might feel compelled to solely discuss problems, but it’s also crucial to show joy, individuality, and various aspects of our lives on television as well.
For me, as a creative, it’s crucial to portray South Asian characters in ways that reflect life as I perceive it – vibrant, diverse, and not defined solely by struggles or hardships. While conflict remains essential to drama, my work will not shy away from the complexities of life but will avoid overly sanitized narratives that neglect meaningful themes.
However, I’m also granting my characters and the broader community some actions that aren’t typically found in television shows.
Currently, we’re approaching a year since the anti-immigration disturbances occurred throughout the United Kingdom in 2024. These events were widely recognized as evidence of increasing instances of hate speech and far-right ideologies. Moreover, current news broadcasts continue to cover protests happening outside hotels accommodating asylum seekers across the country.
Is there reluctance among television executives when it comes to centering stories around Muslim characters, given that TV often mirrors our real-world society?
Shah mentions that while he may not be able to comment on the entire television industry, he acknowledges that there are influential individuals who might have more insights regarding such topics.
Notice, it appears to me that if you’ve read Sayeeda Warsi’s book ‘Muslims Don’t Count’, you’ll recognize that Islamophobia and anti-Muslim racism are often overlooked or not given due attention, despite the recent occurrence of anti-Muslim race riots last year. Similar incidents of anti-refugee violence have been witnessed just a week ago. I believe this is also true for many other communities whose voices aren’t being heard within the industry.
In light of the current challenges and sluggishness in the U.S., various marginalized groups find themselves struggling. Yet, it seems we might be overlooking an opportunity by not providing adequate support to creative individuals within the Muslim community, who could greatly benefit from our encouragement and recognition.
He recalls feeling quite powerless last year, as he believed his plans for seasons 2 and 3 of Count Abdulla could have significantly addressed many issues raised during the summer race riots. It’s disheartening because he desires to feel influential and engaged in such important discussions. However, this can only happen when he is commissioned as a screenwriter.
It’s crucial that we challenge the numerous misconceptions about the Muslim community, which often gets stereotyped as a single entity. I strongly believe that British media, especially television, should strive to dismantle these stereotypes by presenting diverse narratives and showcasing a variety of stories.
It seems like the credit for breaking down certain barriers is due to individuals such as Nida Manzoor, Guz Khan, Adeel Akhtar, Riz Ahmed, among others, whose efforts have been truly impressive. However, I believe we could benefit from seeing even more of this kind of impactful work in the future.
Browse through any newspaper or online article today, and it becomes clear that many communities are rife with misinformation and mistrust. I believe that the way to bridge these gaps is by focusing on shared platforms like TV, media, and positive representation.
Have viewers noted a significant gap in television portrayals of Muslims? Since the unrest last year, has there been any acknowledgment of this issue and a possible change or shift in representation at all?
Shah acknowledges, “To tell you the truth, I can’t say I’ve come across it. As for efforts to discover a wide range of diverse programs, I believe we’re still encountering the same obstacles. It seems like shows representing my community and others face ongoing struggles in breaking through that tough glass ceiling.
He further adds: “The advancements we’ve seen are largely due to exceptional talent and creative individuals who have relentlessly persevered and broken barriers. However, I question if enough is being done by those in authority to empower creatives from the Muslim community. In my opinion, there seems to be a growing resistance towards voices from this community.
As a dedicated admirer of Shah’s insights, I can’t help but reflect on his discussions about the realm of unscripted television. Lately, there’s been quite a stir regarding the release of the documentary, Gaza: Doctors Under Attack, with the BBC announcing their decision not to broadcast it due to concerns that it might foster an impression of bias.
The broadcast was handled by Channel 4, yet discussions surrounding Palestine reveal numerous challenges encountered by journalists aiming to report on such critical conflicts, especially those significant to the Muslim community.
As a passionate film enthusiast, I’m saying this: “We, in the world of drama, aren’t immediately privy to the productions sparked by last year’s unrest. That’s because great drama needs time to mature, like a fine wine aging in an oak barrel.
In my own experience, I can confirm that I’m actively engaged and producing quality work. I strive to challenge conventional narratives through the stories I tell, yet I encounter immense challenges in getting these projects commissioned and acknowledged.
Although I wish my level of urgency were more apparent in the industry, I understand that competition is inherent. As a creative person of color, I’ve learned to adapt to this reality. Perhaps with greater influence in the future, I can make it clearer.
Shah points out that the realm of drama can be quite unique, and he humbly admits that he’s still somewhat new to the genre, being a beginner or novice in this field.
Due to the absence of diverse voices in representation, Shah emphasizes the occasional burden felt when trying to encompass all experiences within the British Asian and Muslim community, as depicted by the conversations that followed the release of We Are Lady Parts. Later, speaking on these discussions, Shah recounted how many Muslim viewers questioned if Nida Manzoor’s comedy accurately captured their entire lived experience.
Shah remarks that his point contributes to a broader discussion, implying: Isn’t it questionable for one individual to represent the views of all Muslims?
While composing “Count Abdulla,” I found myself grappling with concerns that it might be among a limited number of television programs featuring Muslim characters. Was I accurately portraying the community? This concern took on a significant perspective, serving as a lens through which I viewed my work.
We made significant progress with a project similar to We Are Lady Parts, yet the discussions sparked reveal how far we still need to advance when it comes to commissioning content from diverse segments of Muslim communities, beyond just those of Pakistani descent, including British African Muslims and white converts as well.
In five years, I hope to be sitting right here, discussing my latest production. It won’t be known as “the Muslim show”; instead, it will be recognized for its focus on “this” particular theme.
Navigating this literary landscape can be tough for underrepresented writers like Shah, who faced absurd feedback about his work “Count Abdulla.” A commissioner thought Count Abdullah, the title character, wasn’t “authentically Muslim” enough in their opinion. They even suggested adding an extremist angle to the comedy, which reinforces harmful stereotypes that Shah wants to see eliminated from South Asian and Muslim on-screen narratives.
As a passionate admirer, let me express my honest thoughts: ” frankly, it’s quite rare to see British dramas produced by Asian writers, isn’t it? I’d say it happens once every decade. This statistic is truly saddening.” – Shah remarks.
Working in UK drama can be quite demanding due to the perceived higher stakes associated with it. This seems to make commissioners and decision-makers more cautious about who they collaborate with, often leading to the same individuals landing the top jobs repeatedly. While these writers have made significant contributions and helped many others rise, it’s concerning that a British Asian showrunner has yet to truly break through the barriers of the industry. Unfortunately, this issue persists.
As a passionate movie enthusiast, I’d share that our nation is missing a British Asian drama showrunner – someone whose unique perspective and stories could significantly enrich our television landscape. Here’s to hoping that the commissioners are actively seeking these talented individuals, and maybe, just maybe, I’m one of them with my experience gained along the way. However, it’s still an uphill battle. I can’t help but wish that someday soon, I could confidently declare that we’ve finally found the key to unlocking this potential – but for now, it remains elusive.
In the days ahead, Shah expresses his optimism about significant progress in television, particularly concerning representation and diversity. He gleams with anticipation for a captivating period drama that will showcase creators of diverse backgrounds at its core.
He wonders how many film adaptations of Jane Austen’s works will be released this year. He also mentions that there’s an abundance of untouched historical topics, particularly focusing on British history and the dynamics between various racial groups, which have yet to be fully explored.
Shah expresses his aspirations for conveying the tale of Sheikh Dean Mahomed on-screen, as well as having worked on adapting The Moonstone for television. However, the response from the industry has been that they find it challenging to produce period dramas.
In my current projects, I’m delighted to be part of an engaging family drama that features a highly acclaimed British Asian actor. This talented individual has been making significant strides and breaking barriers for our community over the last decade, truly paving the way as a trailblazer in film.
He didn’t share many specifics as of now, but he hinted with enthusiasm: “It’s an emotionally engaging family story about diverse families and the unique experiences of mixed-race and British Asian individuals. A topic seldom discussed, I believe this will add a fresh perspective to the conversation. If you recall ‘East is East’, we haven’t delved much into it for quite some time.
Shah additionally aims to infuse his personal Hindu heritage into his creations, expressing, “I’ve been developing a project that revolves around reincarnation, yet it’s a romantic comedy as well. This work explores the concept of incorporating past lives’ influences into one’s own life and relationships.
I’m truly eager for us to locate the perfect broadcaster and talented performers to create what I believe will be an incredibly heartwarming and enjoyable show, offering a delightful gesture to the entertainment industry.
Read More
- FC 26 reveals free preview mode and 10 classic squads
- When Perturbation Fails: Taming Light in Complex Cavities
- Jujutsu Kaisen Execution Delivers High-Stakes Action and the Most Shocking Twist of the Series (Review)
- Fluid Dynamics and the Promise of Quantum Computation
- Dancing With The Stars Fans Want Terri Irwin To Compete, And Robert Irwin Shared His Honest Take
- Where Winds Meet: Best Weapon Combinations
- Red Dead Redemption Remaster Error Prevents Xbox Players from Free Upgrade
- Meet the cast of Mighty Nein: Every Critical Role character explained
- Walking Towards State Estimation: A New Boundary Condition Approach
- 7 ‘The Batman Part II’ Villains, Ranked By How Likely They Are
2025-09-01 18:38