GCSE Media Studies – Set Product Fact Sheet

MAN LIKE MOBEEN

(series 1, episode 2, 2017)

COMPONENT 2, Section A: Television Mobeen while working as a secondary school

teacher in Coventry.
Focus areas:
• In 2020, Khan and Milligan won the Best
• Media language Writer award for Man Like Mobeen at the
• Representation Royal Television Society Midlands Awards and
• Media industries in 2021, Khan was nominated for Best Male
• Audiences Performance in a Comedy Programme and
• Media contexts Best Scripted Comedy at the BAFTAs. The
programme also won Best Comedy Programme
PRODUCT CONTEXT at the 2020 Broadcast Digital Awards. Dúaa
Karim won Best Newcomer at the 2018 Asian
• Man Like Mobeen was produced by Tiger Media Awards for her role as Aqsa.
Aspect, part of Endemol Shine UK, for BBC
Three. The set product is episode 2 from series PART 1: STARTING POINTS – Media
1: Wifey Riddim (2017). The series was launched language
on iPlayer in December 2017, during the six
year period when BBC Three was an online The codes and conventions of media
streaming channel. There have been three series language, how they become established as
of the programme running from 2017 to 2020 genres
and, in September 2020, a fourth series was Sitcoms have a recognisable set of conventions;
confirmed. Series 1 was later broadcast on linear these have evolved over time and developed to
television on BBC One and all three series have reflect social and cultural change and the needs of
been made available on Netflix. audiences. However, they all share similarities that
place them in the genre.
• The programme is a situation comedy set in
Small Heath, Birmingham, which focuses on • Sitcoms usually employ the circular narrative
the life of 28-year-old Mobeen, who is faced model, whereby an initial equilibrium is
with the challenge of looking after his younger established then disrupted. The episode focuses
sister Aqsa. The programme aims to challenge on this ‘problem/situation’, which creates the
stereotypes of working-class British Muslim comedy, and is then resolved by the end of
communities and offer realistic representations the programme (Todorov). The reassertion of
of people, places and issues. stability is marked, not by a new equilibrium but
invariably by a return to the original situation. In
• The programme is written by Guz Khan, who
this sense, sitcoms offer reassurance; audiences
plays the part of Mobeen, and Andy Milligan,
can expect that the problem introduced will be
who is the scriptwriter for Ant and Dec. The
solved by the end of the episode.
original concept for the programme came from
Khan making YouTube videos in character as

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 GCSE Media Studies – Set Product Fact Sheet

• The narrative is usually thematically different elements (Neale). Genres are dynamic,
uncomplicated and may focus on a different developing over time to reflect social and
character’s situation each episode. The narrative cultural change, for example the way that Man
often relates to class differences, identity and the Like Mobeen addresses cultural diversity and
desire to improve status or to develop socially changing gender roles.
and professionally. There may also be narrative
strands that continue from one episode to • Man Like Mobeen is filmed on location to
another, typically concerned with relationships create a sense of authenticity. This makes it
between characters. Some of the narrative less conventional than older, more traditional
comedy may come from repeated motifs, sitcoms that were largely shot either in front of a
including character’s catchphrases, reoccurring studio audience or recorded on studio sets with
comic situations and misunderstandings. An occasional use of exterior locations.
essential part of the narrative is visual and verbal
• The popular music soundtrack is another
humour, for example slapstick comedy,
element of ‘difference’ in Man Like Mobeen
fast-moving dialogue, puns and jokes.
and is unconventional for a sitcom. Man Like
• Most sitcoms include a collection of Mobeen includes a music soundtrack spanning
stereotypical characters, for example the many decades and music genres that would
‘grumpy old man’, the ‘truculent teenager’, appeal to a diverse audience.
the ‘geek’/‘nerd’, the ‘joker’ and the ‘serious’ The various forms of media language used to
character. These character ‘types’ often construct create and communicate meanings
binary opposites that conflict to advance the
narrative. They become familiar to audiences Semiotic analysis, including denotation and
and are common to more than one example of connotation can be used to analyse aspects of media
the genre. language.
Visual codes
• In sitcoms, the setting and location of the
narrative is usually based in the home or the Codes of expression and gesture:
workplace where the key characters interact.
• Mobeen’s body language is very open and he
These locations are limited and become familiar
regularly hugs his friends on meeting them,
to audiences, rarely changing from episode to
connoting his close friendships and connections
episode.
in the community. Frequent close-ups and some
• Iconography often relates to the particular extreme close-ups are used in the episode to
setting, for example the workplace, and props encourage the audience to align with Mobeen
can function as part of the comedy. Iconography and share his reactions, such as the close-ups
can also be closely related to character; some in the supermarket scene when he reacts to the
characters for example wear the same type of content of the teen magazine.
clothing every episode or are associated with a
• Examples of physical comedy include the shop
particular object.
worker searching Mobeen in the supermarket,
Theoretical perspectives on genre, including suggesting the criminal past, which is often
principles of repetition and variation, the referred to in the episode, and Uncle Shady
dynamic nature of genre, hybridity and pouring blackcurrant drink on the cream carpet
intertextuality in Khadijah’s home, connoting his disgust at
their lack of respect for Mobeen.
• Television sitcoms, like other popular genres,
have a repertoire of elements that places them
within the genre. These are recognisable to
audiences, fulfilling their expectations, and are
useful in the marketing of the product. However,
although sitcoms rely on repetition of common
conventions, they also vary and introduce
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 GCSE Media Studies – Set Product Fact Sheet

Codes of clothing: • The establishing shots of Small Heath, including

the high angle shots of city residential areas
• The connotations of characters’ clothing and and the panning shots of the mosque are
appearance create comedy and construct conventional in giving the sitcom a strong sense
meanings. of place and community, setting the scene for
the action to take place in. For example, the
• Mobeen’s dress code establishes him as a establishing shot of Small Heath in which the
character torn between different cultures, mosque is centred in the frame, connotes its
constructed through his costume of a kurta, importance in the Muslim community.
baseball cap and Maharishi coat.
• The editing of the sitcom is creative and self-
• Aqsa’s school uniform quickly establishes her referential; the split screen in the supermarket
age and Mobeen’s responsibility for her. She scene simultaneously showing Aqsa texting
also appears in jeans, a t-shirt and parka style her brother and the phone screen revealing her
coat, reflecting a typical westernised teen dress message to him, aligning the audience with her.
code. Then, the vertical wipe, employed to reveal the
• The dress code of the older male members of cover lines from the teen magazine at the same
the Muslim community is more traditional, time as Mobeen’s reaction creates comedy and
reflecting their age and ethnic identity. positions the audience to sympathise with his
anxieties.
Setting:
• The combination of close-ups, medium close-
• In Man Like Mobeen, the family home is the ups, two shots and group shots throughout the
primary location for interactions between the episode are typical in their depiction of both
central characters, Mobeen and Aqsa, with the verbal and visual comedy.
local shop and market scene outside the Mosque
used as key meeting places with the other • Conventional to the sitcom, over the shoulder
characters in the episode. Man Like Mobeen shots are used to create a close relationship
uses real locations to construct a realistic version between the characters and the audience, such as
of reality and also promotes a strong sense of when Khadijah is interviewing Mobeen.
regional identity by being produced on location
in Birmingham. • Sound effects and silences are used to
communicate meanings and create comedy,
• The mise-en-scène is chosen to create a sense of such as the ticking clock and awkward silence
verisimilitude and represent a typical working- in the room when Mobeen and Uncle Shady are
class home and community. The pre-title waiting to meet Khadijah.
sequence features Mobeen in the bathroom,
plucking his nose hair, to create comedy of • Mobeen is often positioned in the centre of the
situation through relatability. frame, highlighting his role as protagonist.
Dialogue:
• The sofa in the front yard as a meeting point for
the main characters at the end of the episode • Dialogue is important in establishing characters.
offers an original take on a classic sitcom
convention. • Mobeen uses ‘roadman’ vernacular, which is
showcased in the scene in the supermarket
Technical and audio:
where he explains to his friends the positives of
• The opening shots of the episode after the arranged marriage visits: ‘You still get to go to
credits are used to establish Mobeen’s position their house, eat bare free munch and see some
in the community. The camera tracks behind peng milfs’. This contrasts with his more formal
him, including close-ups of his feet, to allow the use of language when he respectfully greets
audience to follow him onto the next location, Khadijah’s father with ‘as-salamu alaykum’.
outside the mosque.
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 GCSE Media Studies – Set Product Fact Sheet

• Eight’s dialogue, which offers classic sitcom according to Propp, is driven by the need to
jokes based on misunderstanding of language: achieve their goals. Propp suggested there were
a range of narrative roles, some of which can be
Mobeen: ‘Do you know what sexting is?’ applied to characters in Man Like Mobeen.
Eight: ‘It’s like a six-sided shape.’ • Mobeen, the eponymous central character
appears to be the hero of the episode but,
• Comedy through Eight’s lack of knowledge
arguably, his sister Aqsa is also on a hero’s
and awareness (‘Thank you, Shitlock Holmes’),
journey. These two are the main focus of all
also Nate’s role as ‘outsider’ to the Muslim
episodes and in many ways are on a journey
community when he goes to the wrong mosque:
together.
‘Why can’t you all go to the same mosque?’
• Mobeen also displays anti-hero qualities, he is
• Comedy is created through Aqsa’s dialogue,
flawed and is not successful in his quest to find
which shows her power over Mobeen: ‘You don’t
a wife. Several characters could be said to fulfil
think you should be explaining how I might have
the role of his helper/donor/dispatcher.
made the wrong decision today?’
Narrative: • Mobeen’s ‘uncles’ – Uncle Habib and Uncle
Shady – assume the role of mentors to him
• An application of Todorov’s equilibrium theory in their capacity as older men in the Muslim
can help us understand the structure of the community. They advise him to seek an arranged
narrative in this episode. The episode follows marriage; Uncle Habib arranges the meeting
the circular narrative model where the initial with Khadijah and her father and Uncle Shady
equilibrium is established by introducing the accompanies Mobeen on the visit.
central character Mobeen on a typical day in the
family home. The disruption occurs when Aqsa • The primary function of Mobeen’s two friends,
arrives home early from school, announces she Eight and Nate, is to provide comedy through
has been suspended and accuses her brother of dialogue and situation but they could also be
not ‘parenting’ her the right way. The episode labelled helpers or sidekicks since they are
then focuses on this ‘problem/situation’, which always around to support him.
is recognised in the scene outside the mosque
where Mobeen suggests the problem could be • Aqsa is at times represented as the princess
resolved if he got married: ‘Maybe she needs a who needs protecting, such as in the scenes
mum’. This situation, in which Mobeen attempts where Mobeen tries to warn her about boys.
to find a mother for his sister, creates the comedy However, her clear position as ‘boss’ of the
in the episode and is then resolved by the end house is established early on in the episode when
of the programme when the characters conclude she explains to her brother how he should be
they are happy as they are. This reassertion parenting her.
of stability is a typical sitcom convention,
• Khadijah’s father, Brother Ahmed, is represented
where the closing scene shows a return to the
as the villain of the episode who presents a
characters’ original situation rather than a new
challenge to Mobeen’s attempt to get to know
equilibrium.
his daughter.
Theoretical perspective on narrative –
applying Propp’s theory:

• This is a character-driven narrative theory, which

suggests that characters influence a narrative
and communicate meanings through cause and
effect; the narrative progresses as a result of their
actions. All characters have motives. These are
revealed during the story arc and the narrative,

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 GCSE Media Studies – Set Product Fact Sheet

diversity. The programme reflects the socially

PART 2: STARTING POINTS –
and culturally diverse nature of Birmingham and
Representations the UK, which is not always evident in other
The ways in which the media represent examples of the genre and as such constructs a
(rather than simply present) the world, and version of reality and engages with audiences.
construct representations of reality
• Mobeen is a British Muslim of South Asian
All representations are constructed and are not descent. We learn in series 1 that his mother has
‘windows on the world’. Producers of media returned to Pakistan, leaving him in charge of
products construct representations, in the case of looking after Aqsa.
sitcoms to create comedic opportunities, through the
use of: • Nate’s close friendship with Mobeen and Eight
connotes racial harmony since he is a black
Technical codes:
British male who does not share their religious
• Camera shots, angles, movements and editing faith. Further episodes show Mobeen in positive
combine to construct versions of reality. For interactions with white characters in the
example, the scene where Mobeen and Eight community, such as Aqsa’s teacher and the local
wait for Nate outside the mosque, which uses a police officer.
time lapse effect to suggest that they have had to
amuse themselves for a long time. • Some of the jokes relate to race or ethnic
identity. For example, Uncle Habib jokes that he
• The low angle panning shots of the mosque would rather his daughter be a suicide bomber
establish its importance in the community. than marry Mobeen and Uncle Shady suggests
Brother Ahmed’s carpet is ‘almost racistly
Audio codes:
white’.
• Diegetic sound is important in the set episode to
create a sense of verisimilitude. This is achieved • As the programme progressed into series 3, it
from the very start as we hear sounds of voices, addressed issues such as racial profiling and
sirens and dogs barking outside when Mobeen right-wing extremism.
is in the bathroom, constructing a believable Representations of masculinity:
version of reality.
• The character of Mobeen challenges
Iconography: stereotypes of masculinity. He is represented
• The clothing and props used in Man Like as a maternal figure, having been left with
Mobeen are selected to construct realism, giving parental responsibility after his mother has
the programme a high degree of verisimilitude. returned to Pakistan with her new husband. He
For example, the market stalls selling produce is represented as head of the family but mainly
outside the mosque are easily recognised because he is 12 years older than his sister. His
as signifiers of a close and supportive, self- job as a care-worker is also seen as traditionally
sufficient community. more feminine and he greets his friends with
a hug, saying ‘give us a cuddle, man’ when he
The social and cultural significance of sees Eight. His ‘man-boobs’ are also frequently
particular representations in terms of the referenced to create comedy.
themes and issues that they address
Representations of ethnicity: • Uncle Habib calls Mobeen ‘highly domesticated’
when he is making smoothies at the kitchen sink
• Man Like Mobeen challenges the under- but also refers to him as ‘a little Mary Poppins
representation and misrepresentation of British who used to sell the hardcore cannabises’.
Muslims in the media. The representation of This highlights duality of Mobeen’s identity,
the working-class British Muslim community as he is trying to cast off his old reputation as
at the centre of Man Like Mobeen reflects a drug dealer and focus on caring for Aqsa and
changes in society and the media with regard to following his faith.
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 GCSE Media Studies – Set Product Fact Sheet

• Mobeen is represented as a stereotypical • In some ways, Aqsa fulfils the stroppy, rebellious
overprotective big brother when he warns Aqsa teenager stereotype and is seen to be engaging
not to talk to boys, who are all ‘weirdos’. This with interests typical of a teenage girl when she
conversation at the kitchen table creates comedy asks Mobeen for a teen magazine. She is also in
through relatability. control of the conversation when Mobeen tries
to warn her off boys.
• The pre-title sequence, in which Mobeen states
‘I’m the boss of the house’, establishes the • Khadijah appears with a notebook in which she
situation that he is the older sibling responsible has prepared questions with which to ‘interview’
for the care of his teenage sister. We quickly Mobeen about his views on women. This
realise it’s Aqsa who is in charge in the family creates comedy and also arguably offers a more
home, which creates comedy. progressive representation of Muslim women
in control of their own destiny. She also says ‘I
• The character of Mobeen also demonstrates would’ve knocked him spark out’ when Mobeen
more stereotypically masculine traits. He is refers to his mother’s abusive husband, showing
represented as an ex-roadman who knows she is not to be messed with. However, Khadijah
everyone on the street and Uncle Habib says, still appears to be under the power of her father
‘You used to be a bad man round these parts’, and is presented to Mobeen traditionally as a
referring to his criminal past as a drug dealer. daughter in need of finding a suitable husband.
• However, this reference to Mobeen’s past – the • The under-representation of older females
backstory of his criminal record for drug dealing in the Muslim community is perhaps more
when he was 16 – is perhaps included by Guz stereotypical. While the men are outside the
Khan as a reference to the stereotype he is mosque trading goods, it is assumed they are at
seeking to challenge in the programme through home in a domestic role.
the character of Mobeen.
Representation of family, community and
• Uncle Habib and Uncle Shady – the older men regional identity:
in Muslim community – represent traditional
• The family is represented in a non-traditional
values and act as father figures and advisors
way, with Mobeen, Aqsa, Nate and Eight
to Mobeen, believing he needs to marry to
represented as a family group when they sit
provide a female role model for his sister. They
together outside on the sofas at the end of the
wear a more traditional dress code and meet
episode.
Mobeen outside the mosque, suggesting they
are regularly practising their faith. Mobeen • The Muslim community is represented as close
calls Habib a ‘dirty old man’, suggesting double and supportive, such as through the uncles’
standards – he wants a good husband for his attempts to find Mobeen a wife.
daughter but has been accused of indecent
behaviour at the swimming pool. Uncle Shady’s • Birmingham is represented as culturally diverse
deadpan facial expression while delivering and Small Heath as a community in which these
criticisms of Mobeen is a major source of diverse cultures live in, what Gilroy calls, a state
comedy in the episode but he does appear to be ‘cosmopolitan conviviality’ (see Gilroy’s theory
a protective father figure and is always there to of civilisationism, Gilroy, 2004, After Empire).
support Mobeen. This positive representation of racial integration
seeks to challenge stereotypical representations
Representations of femininity:
of cultural conflict and racial incompatibility
• Aqsa is represented as strong-minded and not which Gilroy argues are often constructed by the
to be messed with. She holds the power in the media.
family home. In the opening scene, she instructs
Mobeen how he should be parenting her. She • Guz Khan said he wanted to give an authentic
has been suspended from school for fighting, account of Birmingham, which he feels ‘gets
challenging passive female stereotypes. almost no positive representation in the media’.
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 GCSE Media Studies – Set Product Fact Sheet

• After six years of being online, BBC Three

PART 3: STARTING POINTS – Media
returned to linear television on 1st February
industries 2022. It broadcasts every day from 19:00 to
The nature of media production, including by around 04:00, timesharing with CBBC.
large organisations, who own the products
they produce and by individuals and groups • Whilst Man Like Mobeen was originally
made available on BBC iPlayer, it has since
• There have been significant changes to the been broadcast on linear TV on BBC One and
television industry in recent years due to the audiences also have the opportunity to access
impact of digital technology on the way in the programme across different digital platforms,
which programmes are produced and distributed including Netflix. Digital technology also allows
and how audiences consume them. Audiences audiences to binge-watch the series and it
have become more fragmented and traditional appears as a box set on BBC iPlayer.
broadcasters, like the BBC, must evolve in the
ways in which they produce, distribute and The importance of different funding models,
market their products. including government funded, not-for-profit
and commercial models:
• Man Like Mobeen was produced for the BBC by • Television companies operate either a public
Tiger Aspect, which is owned by Endemol Shine service or commercial broadcasting model. The
UK, part of a large global media conglomerate. BBC is a public service broadcaster, funded by
• The character of Mobeen originated when Guz the licence fee, with a remit to inform, educate
Khan began uploading short videos in the role and entertain. This influences what is produced.
while he was a secondary school teacher in The funding arrangement allows the BBC some
Coventry. He produced Roadman Ramadan aspect of freedom as they are less driven by
in 2015 after Baby Cow Productions invited ratings and profit. Its relative autonomy enables
him to make a BBC Comedy Short. Soon it to offer a diverse range of programming
afterwards, he got a radio slot on BBC Asian content and comedy programmes are an
Network and wrote a pilot episode of Man Like important element of its content and schedule.
Mobeen for BBC Three’s Comedy Slices. This • The BBC does have an element of governmental
pilot was successful and, in 2016, the show was control and there is an ongoing discussion
commissioned for four episodes. centred around the continuation of the licence
• The production team for series 3 included eight fee, which is set by the government, with some
working class trainees from Birmingham, who members unhappy about the BBC’s funding
were recruited from a campaign funded by the model. However, there is considerable support
BBC, Endemol Shine and Film Birmingham, from the public, the arts and entertainment
to enable people from diverse backgrounds to industry and sections of the government for what
access the TV industry. is seen as the essential role played by the public
service broadcaster.

The impact of the increasingly convergent

nature of media industries across different
platforms:

• BBC Three closed down in 2016 and was

replaced by an online-only BBC Three
streaming channel, so Man Like Mobeen was
originally only available online and on-demand.
This meant Man Like Mobeen was accessed via
BBC iPlayer, so was largely marketed through
this platform.

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 GCSE Media Studies – Set Product Fact Sheet

The function and types of regulation in the • The programme is also frequently discussed on
media: social media – Facebook, Twitter, Instagram, etc.
• Television companies and specific channels • Actors and production staff from the programme
operate self-regulation through scheduling also feature on the Careers section of BBC
decisions, the watershed and announcements at Bitesize site in ‘What’s it like to work on Man
the beginning of programmes giving information like Mobeen?’, targeting a young audience
about possible areas of offence. interested in accessing the TV industry.
• The BBC Board is responsible for ensuring that • The use of teaser trailers on BBC iPlayer were
the BBC fulfils its mission as detailed in the used to attract audiences and the programme was
Royal Charter, which sets out the BBC’s object, ‘repackaged’ as a box set on iPlayer’s ‘Boxset
mission, and public purposes. It is reviewed and your Summer’ page, where Man Like Mobeen
renewed regularly; the current charter began was promoted with the enigmatic tagline,
in January 2017 and ends in December 2027. ‘Roadman or Role Model?’
The BBC is externally regulated by Ofcom,
which is accountable to the Parliament and • Man Like Mobeen is a good example of BBC
publishes standards that must be adhered to by Three’s focus on the need for ‘bold titling
broadcasters. and iconic imagery’ in its marketing. A key
marketing image produced by Endemol UK
PART 4: STARTING POINTS – shows the character of Mobeen with a photo of
Audiences Small Heath in Birmingham superimposed on
his head and body, connoting the sitcom’s strong
• BBC Three produces content aimed at sense of regional identity.
audiences between 16 and 34 years old, with a
particular focus on engaging a 16–24-year-old • The music soundtrack spans decades and appeals
demographic. The BBC Three commissioning to a wide range of audiences, including older
page states that the channel is ‘looking to audiences.
celebrate what it is to be young and British
The role of media technologies in reaching
today, and all our content must appeal to a and identifying audiences, and in audience
young, diverse, UK-wide audience’. BBC Three consumption and usage
also actively seeks ideas set outside of the
South-east of the UK. Man Like Mobeen fulfils • Changes and developments in technology have
all aspects of this remit and 63% of its audience had an impact upon the way in which audiences
is under 35. access, consume and respond to media products.
Audiences now have a range of content to
• Man Like Mobeen has also had a broad choose from on a range of different platforms to
‘crossover’ appeal, arguably because the suit their needs and lifestyle.
ethnicity of the central character – Muslim and
Asian – is not the central focus of the show. • Man Like Mobeen, as well as being available
This has enabled the programme to enter the to watch on BBC Three (which is a free-to-air
mainstream, as it appeals to people of all faiths, channel), can be streamed on BBC iPlayer and
backgrounds and ages. Netflix.
The ways in which media organisations • The programme can also reach audiences
target audiences: through social media sites, including Twitter
• Man Like Mobeen has been promoted on the and Facebook, which allows the BBC to review
BBC Asian Network radio station when Guz audience reactions to characters and storylines.
Khan and Tez Ilyas were interviewed on the
Waqas Saeed show.

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 GCSE Media Studies – Set Product Fact Sheet

• Fans of the show used Instagram to comment on PART 5: STARTING POINTS – Media
the Maharishi coat, which has become iconic in contexts
the programme’s branding, asking where they
could buy one. The specification requires learners to develop their
understanding of relevant contexts of media and
• The sitcom has increased in popularity as it has their influence on the product.
progressed, with series 3 peaking at 600,000
viewers and drawing more iPlayer requests than Social, cultural and political contexts:
the first two series.
How Man Like Mobeen reflects the society and
Theoretical perspectives on audience – culture of the time in which it was made through its
Blumler and Katz’s uses and gratifications representations, themes, values, and messages.
theory:
Consider:
• The uses and gratifications theory suggests that
audiences can be active consumers of the media • How the programme addresses the under-
and seek out and use different media products representation and misrepresentation of ethnic
in order to satisfy a need and to experience diversity in television sitcoms and the more
different pleasures: progressive representations in contrast with
the under-representation of ethnic diversity
• Entertainment/diversion: audiences watch in Friends and the more one-dimensional,
some media products, including sitcoms, to stereotypical character representations of British
escape from everyday life into a fictional Asians in Citizen Khan.
world that absorbs their interest. Man Like
Mobeen contains slapstick comedy as well as • How the representations of gender in the episode
a lot of comedy through dialogue. challenge typical representations in sitcoms,
illustrating how the genre has developed over
• Information/education: Man Like Mobeen is time and been informed by cultural influences.
a comedy but also seeks to educate audiences
with social and political messages. The • How the issues discussed in the sitcom reflect
programme gives audiences an insight into the time in which the programme was made.
another area of society or culture with which Man Like Mobeen has made jokes about
they may not be familiar. arranged marriage, terrorism, Islamaphobia,
police profiling and drug dealing – all influenced
• Social interaction: this pleasure has been by contemporary social issues.
enhanced by developments in technology:
‘We were bored, so we skimmed through • How Mobeen’s references to politicians, such
Netflix and found the show Man Like as Priti Patel in later episodes, are influenced
Mobeen. This show is hilarious’ (Twitter). by the political context of the programme.
Audiences watch episodes of Man Like The characters also visit a food bank in a later
Mobeen and at the same time interact with episode and comment on the NHS in a scene
friends and family on social media. There has set in a hospital, reflecting contemporary social
been much speculation on social media about issues.
a potential series 4.
• How the references to movies including Three
• Personal identity: the programme may Men and a Baby and The Goonies in the episode
appeal to the audience because they relate reflect contemporary interest in 80s pop culture
to a character or a particular situation. For and how the popular music retro soundtrack has
example, some audiences may relate to the been influenced by a culture of nostalgia.
scene where Mobeen visits Khadijah’s family
to discuss a possible arranged marriage.

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 GCSE Media Studies – Set Product Fact Sheet

Recommended reading/viewing
Roadman Ramadan, 2015:
https://www.youtube.com/watch?v=CidGmIUw5X0

Useful articles/webpages
https://www.theguardian.com/tv-and-radio/2018/
jan/09/man-like-mobeen-guz-khan-citizen-khan-on-
the-buses

https://gal-dem.com/bbc-three-comedy-man-like-
mobeen-powerful-south-asian-women-duaa-karim-
guz-khan/

https://www.bbc.co.uk/commissioning/bbc-three

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