Mo Amer’s Last Rodeo

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In the second installment of the Netflix series “Mo,” co-created by, featuring, and influenced by the experiences of Palestinian American comedian Mohammed “Mo” Amer, filming and part of the scriptwriting took place following October 7, 2023. Upon resuming work after that date, the writers sought to incorporate the Israel-Hamas conflict into the storyline. However, as Amer explains, the scenes became overly didactic and didn’t fit with the intended tone of the show. Consequently, Palestine is depicted subtly yet persistently in the backdrop of the characters’ lives, serving as a source of sorrow, aspiration, and comedic predicaments throughout the eight episodes.

In August 2022, the first season introduced Mo Najjar, who juggles part-time jobs as a DJ at a strip club and an illegal vendor, struggling to get by in Houston while living with his mother (Farah Bsieso) and brother (Omar Elba), who has autism. His life is filled with relationship turmoil with his Mexican American girlfriend (Teresa Ruiz), comedic moments with a diverse group of friends, and the family’s efforts to establish an olive-oil business while seeking asylum. Mo, a refugee without proper documents, can be a challenging character, often losing his temper and holding onto unrealistic dreams. A string of errors lands him stranded in Mexico without a means to return to Houston. In the second and reportedly last season, Mo forfeits his opportunity to legally re-enter Houston when he encounters the U.S. ambassador to Mexico and can’t resist arguing after the ambassador uses the term “conflict” to discuss the situation in Israel and Palestine.

In the second season, Mo encounters the fallout from his formal expulsion, a choice that jeopardizes his chances of reunion with his family in the West Bank. The season reaches its climax in the episode titled “A Call From God,” where Mo, his mom, and sibling embark on their first joint journey to Palestine for the first time. Several parts of the finale, shot in Malta using Palestinian actors as his extended family members, were based on Amer’s personal experiences following his acquisition of American citizenship in 2009. “I can’t express enough how often I had to secretly depart while filming,” Amer shares with me. “It was overwhelming because it felt so authentic.

As season one concludes with Mo stranded in Mexico, what were the significant writing hurdles for season two?

Before the writers’ strike, we spent a month brainstorming and outlining the entire second season. Upon resuming work on October 1, 2023, unforeseen events occurred that disrupted our plans. We chose to set the story in a post–October 7 world, but soon realized that this approach was taking us away from our characters’ emotional journeys and mental states. I felt it was crucial to focus on these aspects instead of making it seem like the events just started then. In reality, the situation we’re portraying has been ongoing for nearly 80 years.

One idea I came up with was, “We’re constantly bombarded by news and our phones.” I wanted my mother to serve as the catalyst for this, demonstrating the emotional toll of the near-trauma that occurs every time someone checks their phone. The content they see is determined by the algorithm, creating a cycle where what you consume is influenced by what you’ve already seen. This is something we all experience in our daily lives. I was determined to show this aspect.

One of the most rewarding experiences for me so far has been directing the scene between my mother and sister in episode seven on the dock. Just thinking about it now brings tears to my eyes.

In that scene, Mo’s mom, Yusra, and sister, Nadia (Cherien Dabis), are seated by the water, having a conversation about Yusra’s fascination with reading about conflicts in the West Bank and how it triggers her depression and anxiety. This detail struck me as incredibly relatable to many immigrant families, where parents are often engrossed in their phones on platforms like WhatsApp. It reminded me of that moment when you say to your mother, “Put down your phone for a moment, appreciate yourself too.” However, it’s not about disconnecting, quite the opposite; it’s a way of saying I care deeply about you and your well-being.

In the process of filming a scene where Mo is detained upon re-entering the U.S. from Mexico, we transformed an empty warehouse into a realistic detention facility. The production team erected fences and brought in security personnel to create internal cages within the space. Upon our arrival at this setting, we were taken aback by the authenticity of the environment that Carmen Navis, our production designer, had managed to construct so quickly.

To ensure accuracy, we conducted extensive research on these facilities and the experiences of those detained within them. We scrutinized details such as the portable toilets, gender segregation, foil blankets, MRE food, and individual cells. One of our team members who had personally experienced detention was present during this process and shared his harrowing account with us. After discussing the details with us, he suffered a near-panic attack. His story included a unique detail that made it onto the show: there was a man in the facility known as El Gato, who meowed constantly.

Food plays a significant role in the series, serving as a recurring motif throughout each season. For instance, chocolate hummus was pivotal in season one, while the falafel taco takes center stage in season two, and there’s even an argument about couscous. I believe food is such an impactful means of discussing culture for several reasons.

Firstly, sharing a meal with someone creates an emotional bond that makes it challenging to maintain hostility towards them. This saying captures this idea beautifully: “You break bread with somebody, you can’t be mad at them.”

Secondly, food is a powerful way to preserve one’s cultural identity. When someone takes a traditional dish and transforms it into something new, they risk erasing the original culture. It’s crucial to acknowledge where a dish originated and recognize its historical significance, such as the Palestinian, Lebanese, or Turkish roots of hummus, for example.

In some cases, food becomes the focal point of political discussions, making it an accessible entry point into complex issues like the occupation without immediately diving headfirst into those topics. When you start renaming, rebranding, and modifying dishes to fit your goals, you risk losing the essence of a culture.

Ultimately, food serves as a symbol of cultural identity and heritage, allowing us to hold onto something that is uniquely ours amidst the potential loss of other aspects of our culture. As my mother always said, “You want to take everything? Just don’t take our hummus.” It’s a way of saying, “We’re holding on to something. This is ours. You might take everything else, but this is ours.

This season’s other theme is the symbol of a key. It appears frequently in Mo’s dream sequences, one of which takes place in a tepee adorned with tatreez, a Palestinian embroidery style, and another that echoes The Shawshank Redemption. So, why did the key become such an integral part of the surreal aspects of Mo’s life? Well, keys hold deep cultural significance for Palestinians, symbolizing not only their homes but also their history. When I was finally permitted to return to my grandparents’ house in December 2009, I sent my mom photos of these keys, and she confirmed they were the keys to our home in Haifa. This experience resonated with me deeply. Years later, when we revisited the house in 2015 or 2016, I found my grandfather’s passport. When I asked my late uncle for the keys and the passport, he refused, insisting that everything remain there. However, I pressed him about what would happen if something unfortunate occurred, and I was only allowed to keep the passport for preservation purposes.

After the first season, there’s been a lot of acclaim for Mo: its portrayal of a Palestinian family, undocumented individuals, and the city of Houston. Have you considered since the premiere about the power of representation and where it may fall short? In my experience, it wouldn’t be realistic to have an all-white cast in a show set in Houston. Even white people in Houston have diverse social circles.

What made it challenging to recreate your character’s journey to Palestine in this season finale was finding authentic footage and locations in Palestine, specifically Burin, a village with personal significance for you. Fortunately, during season one, I had sent a camera crew to capture four seconds of my grandparents’ house in Palestine, which we could use again. This time, we sent a crew back to get the driving scenes. We prioritized safety and made several attempts before successfully capturing the real footage. The exteriors, such as the olive farm and mosque, were all filmed in Palestine, while the interiors and internal mosque were shot in Malta. A Palestinian imam presided over the mosque scenes.

In our filming, we captured scenes of a partition wall adorned with various graffiti pieces, one notable image being a portrait of George Floyd. What specific partition-wall footage were you envisioning? Well, it turns out that you need to get permission from the artists before using their work. There’s no simple take-what-you-want approach here. We had to run everything by some legal folks. The footage was shot in Bethlehem, right opposite the Walled Off Hotel, a creation of Banksy. I believe this particular section offered the best and most useful graffiti for our purposes.

As for going to film in Palestine, unfortunately I couldn’t make it. My aunt warned me sternly not to even consider it since I was accompanying my son and wife in Oman at that time. Regardless of your proximity, it wasn’t feasible for me to go.

Choosing October 6, 2023 as the finale date felt fitting for me, as it evokes a sense of closure with a hint of optimism. This sentiment is drawn from my personal experiences, such as smiling at a soldier even when I was put in a difficult situation. I wanted to ensure the story stays true to who I am, despite the hardships. As I shared my experiences with my writing team, I emphasized that these were genuine events and depicted my reality. The soldiers broke belongings during their search, and I recall the specific details of the room – the color, the curtains – to recreate it accurately in the story.

Did the decision to conclude the series come from you? And were you satisfied with the timing of its end? I’m open to exploring more stories, potentially even a third season. However, this particular narrative has been emotionally challenging for me to tell. There is still so much I want to explore and achieve within this story. For now, it seems that we must conclude here, but who knows what the future may bring?

Last query: From where did you receive information about the truce, and what are your feelings following this announcement? I picked up on it while conducting an interview. Frankly, a ceasefire has been our aim from the outset. However, Biden claims that the foundation of this agreement has been established since May. It’s puzzling to me why there have been delays. I am optimistic that we can find a way to celebrate and provide some respite for the people in Gaza. I fervently hope that this positive impact extends to the West Bank too, as this situation is far from over.

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2025-01-31 15:54