(Beirut) – The Riyadh Comedy Festival, hosted in a country notorious for its human rights violations, has seen an alarming silence from participating comedians regarding the plight of unjustly detained activists. Human Rights Watch has pointed out that, from September 26 to October 9, 2025, comedians had the opportunity to leverage their platforms to call for the release of individuals like Waleed Abu al-Khair, a dedicated human rights defender, and Manahel al-Otaibi, a courageous female fitness instructor and advocate for women’s rights. Yet, not a single comedian took a stand.
Human Rights Watch, while not advocating for a boycott, implored these artists to use their influence to speak out in favor of free speech and urge for the release of imprisoned Saudi activists. Joey Shea, a Saudi Arabia researcher at Human Rights Watch, emphasized that while some comedians, like Aziz Ansari, have expressed willingness to contribute a portion of their fees to rights groups, the time for vocal support has not passed. The continued silence from the comedy elite is both disappointing and telling.
During an October 6 appearance on Jimmy Kimmel Live, Ansari acknowledged that part of the festival’s proceeds should support causes promoting free press and human rights. However, this vague sentiment falls short; it is not enough to merely acknowledge the issues without demanding action. Jessica Kirson, another performer, claimed she was donating her entire fee to a human rights organization, but this individual act cannot overshadow the collective responsibility comedians share to confront and challenge the authoritarian environment they are performing in.
The Riyadh Comedy Festival is not just an entertainment event; it is a calculated attempt by the Saudi government to whitewash its abysmal human rights record. By engaging in this festival, comedians risk becoming unwitting accomplices in the regime’s PR strategy, obscuring the reality of ongoing oppression and human rights abuses. Human Rights Watch reached out to representatives of the comedians to discuss the ongoing human rights crisis in Saudi Arabia, only to be met with silence—a silence that speaks volumes about complicity and disinterest in accountability.
Louis C.K. openly admitted he was told about restrictions on his material, specifically that he could not joke about “their religion and their government.” This admission highlights an uncomfortable truth: that even in the realm of comedy, Saudi Arabia places strict limitations on free expression. As comedians, they have the moral obligation to challenge these oppressive constraints, rather than acquiescing to them.
Atsuko Okatsuka, another comedian, shared screenshots of a proposed contract that revealed explicit attempts to suppress critical discourse about the Saudi government and its royal family. Such contractual clauses should serve as a red flag for all artists. Entertainers must categorically reject any agreements that inhibit their ability to speak freely about the abuses they witness, as silence only perpetuates the status quo.
Dave Chappelle’s assertion that “it’s easier to talk here than it is in America” during his set in Riyadh is a stark indication of the complacency that has seeped into the fabric of modern entertainment. His failure to publicly address the human rights abuses in Saudi Arabia not only undermines his credibility but also reinforces the notion that entertainment can exist in a vacuum, devoid of moral responsibility.
Jessica Kirson, reflecting on her participation in the festival, lamented her decision, stating it had weighed heavily on her conscience. She expressed regret for performing under a regime that blatantly violates fundamental human rights. While she hoped to support LGBTQ+ individuals in Saudi Arabia, one must question whether a performance in such a repressive environment truly offers meaningful support or merely acts as a superficial gesture.
The Saudi Crown Prince Mohammed bin Salman’s creation of an entertainment industry does not signal progress when it occurs alongside severe repression of civil and political rights. The international applause for Saudi Arabia’s burgeoning entertainment sector must be tempered with a recognition of the harsh realities that persist beneath the surface. While the world celebrates these superficial advancements, the Saudi government simultaneously engages in waves of arbitrary arrests and crackdowns on dissent.
The timing of the Riyadh Comedy Festival is particularly troubling, occurring just days after the anniversary of Jamal Khashoggi’s brutal murder and following the execution of journalist Turki al-Jasser for peaceful speech. These events stand as stark reminders that Saudi Arabia remains a dangerous place for those who dare to speak truth to power.
Comedians who attended this festival still have the opportunity to advocate for the release of Manahel al-Otaibi and Waleed Abu al-Khair. Public pressure from high-profile artists could be a crucial factor in securing their freedom. The question remains: will they seize this chance to stand in solidarity with those who have been silenced, or will they continue to prioritize their careers over the urgent need for justice? The world is watching, and the time for action is now.
This article highlights the importance of Complicit in Silence.
