This chapter looks at the interpretations of the series by the Arab/Palestinian Israeli state minority audience in Uhm Al-Fahm. Half decoded “Jews”; one-third decoded Palestinians. All concluded there were “Arab” characters in Sesame Street, meaning Arab/Palestinian Israelis. Drawing on assumptions about language, physical features, or attire of characters, they typically converted Jewish Israeli characters into “Arabs,” moving them from the national to the civic axis, still Israeli but specifically Arab/Palestinian Israelis like themselves. Palestinian characters moved from the civic to the national on the continuum, and were interpreted as just “Arabs.” A majority held negative to very negative attitudes about Jewish Israelis, and very positive to very negative attitudes about Palestinians, their other shared other. In some cases they negatively stereotyped the former as “police” and the latter as “dirty, primitive or poor.” Optimistically for peace-building, most nonetheless adopted positive attitudes toward all the characters they had “correctly” decoded as pro-social and nice, and were able to generalize those mediated experiences to the other characters on screen and to the real world. This suggests there is some room for Sesame Street to influence the Arab/Palestinian Israeli audience’s inter-grouping attitudes towards these shared others.

For the state-bearing nation audience, Palestinian characters were absent from the series, only 25% of those who responded clearly seeing them. Chapter 5 describes how these Jewish Israeli children from Alfei Menashe argued that since Palestinians are “terrorists,” the “Israeli” producers, Jewish Israelis just like they are, would not have allowed them onto Sesame Street to harm them. They used production-based conventions to reinterpret what they perceived as the imbalance of encoded characters who were both “good people” and their partners to conflict. The majority converted both the national and civic identity of Palestinian characters: 80 percent transformed them into Jewish Israelis, or simply “Israelis”; 25 percent into Arab/Palestinian Israelis. 56% decoded their shared others, Arab/Palestinian Israeli characters. These children interpreted all the characters as “good people,” whether defined as Jewish Israeli, Arab/Palestinian Israeli or Palestinian, though none generalized their mediated experiences about their other out-grouping, or Palestinians, to additional characters and real-world scenarios. Where their shared other was concerned, Arab/Palestinian-Israelis, only a minority generalized those experiences, such that at least regarding their shared other, the series could potentially move this audience attitudes, which otherwise ranged from negative to neutral.