Navid Mohammadzadeh, one of Iran’s most prominent film and theater actors, was removed Monday from the cast of the theater-orchestral production “Arash,” according to a statement from the production team.
The producers cited “multiple controversies,” unspecified personal problems and, unusually, “the lack of audience interest in him” as reasons for the decision, saying a replacement would be announced soon.
The wording was striking in a country where support for Palestine has been promoted for decades as a foundational political and ideological cause, while expressions of sympathy for Israel can carry legal consequences.
Mohammadzadeh had drawn a wave of criticism on social media about two weeks earlier after posting an image of himself wearing clothing bearing the Palestinian flag. He responded with a video in which he made clear that his position went beyond concern for Palestinian civilians.
“I supported Palestine before, I support it now and I will continue to support it,” he said. “Why? Because I simply don’t like Israel. I will definitely choose Palestine forever.”
Mohammadzadeh pointed to football stars Diego Maradona and Cristiano Ronaldo, whom he described as personal idols, as figures whose attitudes toward the Palestinian issue helped confirm his own position.
He also pushed back against attacks on Iranian artists from rival political camps, complaining that both government hardliners and their opponents were quick to accuse people of betraying the country.
“I’m not on your side and I’m not on their side. I’m on nobody’s side,” he said. “I’m only on the side of one thing: life. And one place: Iran.”
“My love is Iran,” he added, saying he could have lived elsewhere but had chosen to remain despite the country’s difficulties.
His remarks failed to quell the criticism, as the social-media backlash over his support for Palestine continued.
The controversy coincided with another problem for “Arash”: anger over its unusually expensive tickets. Prices ranged from 990,000 tomans to nearly 5 million tomans for a limited number of premium seats, prompting criticism that the production had turned theater into a luxury product during a period of severe economic pressure. The producers later announced a 20% discount.
Reports about weak demand cited both ticket prices and opposition to Mohammadzadeh, making it impossible to establish how much of the production’s commercial difficulties resulted from his Palestine stance alone.
What distinguishes Monday’s decision is the production’s own explanation: rather than merely citing scheduling problems or artistic differences, it publicly identified a lack of audience interest in Mohammadzadeh as one of the reasons for removing one of Iran’s biggest stars.
Hardliners question ‘invisible red lines’
The decision drew sharp criticism from hardline Farhikhtegan newspaper, which linked Mohammadzadeh’s removal to his pro-Palestine post.
In a critical piece on Monday, the newspaper asked whether parts of Iran’s cultural scene had developed “invisible red lines” under which support for Palestine could lead to boycott and exclusion.
Farhikhtegan said the unusually blunt announcement — rather than the customary references to scheduling or contractual disagreements — resembled a hurried attempt to distance the production from the actor.
It suggested his removal amounted to a public warning that taking a particular political position could carry a professional cost, while disputing claims of weak demand by noting that audiences had still bought the expensive tickets.
The reaction is revealing. For most of the Islamic Republic’s history, pressure on cultural figures has generally operated in the opposite direction: artists could face bans, prosecution or professional consequences for challenging officially sanctioned causes.
In Mohammadzadeh’s case, a conservative newspaper is effectively complaining that an actor may have suffered commercially for embracing one of the state’s own defining positions.
A divide hidden by censorship
The episode brings into view a political divide that has existed in Iran for years but has been difficult to measure through the country’s tightly controlled domestic media.
Support for the Palestinian cause, and particularly for what Tehran calls the “resistance,” has been a cornerstone of the Islamic Republic’s identity since 1979. Iran has provided money, arms and training to Palestinian armed groups including Hamas and Palestinian Islamic Jihad. The US State Department estimated that Tehran provided up to $100 million annually in combined support to Palestinian militant groups before the latest regional wars.
That policy has unfolded while Iranians have faced repeated currency crises, high inflation, sanctions and declining purchasing power, helping turn Tehran’s spending abroad into a recurrent theme of anti-government protests.
“Neither Gaza nor Lebanon, my life for Iran” first emerged prominently during the 2009 Green Movement and returned during successive waves of unrest.
It was heard again during the economic protests that erupted in late December 2025, including in Tehran, Kermanshah and universities, and continued into January 2026.
The slogan does not necessarily express hostility toward Palestinians themselves. Its central message is that Iran’s resources and political priorities should be directed toward Iranians rather than Tehran’s regional allies.
But other expressions have gone considerably further.
Two days after Hamas’s October 7, 2023 attack on Israel, hundreds of Persepolis football fans at Tehran’s Azadi Stadium shouted an obscene slogan demanding the removal of Palestinian flags displayed around the pitch. At another match later that month, spectators disrupted an officially requested minute of silence for people killed in Gaza by shouting and blowing horns.
The scenes contrasted sharply with government-organized rallies supporting Palestinians and Hamas, which failed to generate participation comparable to pro-Palestinian demonstrations seen in several other countries in the region and beyond.
Iranian social media after October 7 also saw unusually visible expressions of sympathy for Israel and hostility toward Hamas, despite the risks involved. In October 2023, Iran’s attorney general designated online activity promoting or supporting Israel a criminal offense, underscoring why such attitudes are largely absent from licensed domestic media.
The divide surfaced again in 2024 when Iranian celebrities joined the global “All Eyes on Rafah” campaign. Critics responded with “All Eyes on Iran,” accusing public figures of showing greater concern for Palestinians than for Iranians killed or imprisoned by the Islamic Republic.
Is Iran’s society anti-Palestine?
Polling helps quantify the gap, while also showing why describing Iranian society simply as anti-Palestinian or pro-Israel would be misleading.
A 2021 survey by the Netherlands-based GAMAAN research foundation found that 70.6% opposed the Islamic Republic’s approach toward Hamas. Nearly 64% agreed with “Neither Gaza nor Lebanon, my life for Iran,” while 65.5% opposed the official “Death to Israel” slogan.
Those findings predate the recent wars, suggesting that resentment toward Tehran’s regional priorities is not itself a new postwar development.
A GAMAAN survey conducted after the 12-day Iran-Israel war last year showed the same divide in a more complicated form. Sixty-nine percent said the Islamic Republic should stop calling for Israel’s destruction, while 63% viewed the conflict as a war between Israel and the Islamic Republic rather than between Israel and the Iranian people.
But that did not amount to majority support for Israel. The same survey found 39% viewed Israel favorably and 48% unfavorably. Fifty-seven percent agreed that many Israeli military actions in Gaza could be considered war crimes.
The results suggest that several attitudes can coexist: opposition to Tehran’s funding of armed Palestinian groups, rejection of the “Death to Israel” ideology, anger at the use of Palestine as a compulsory political cause, sympathy toward Israel in its confrontation with the Islamic Republic, and concern about Palestinian civilians and Israel’s conduct in Gaza.
For some government opponents, Israel has also taken on a political meaning separate from the Palestinian conflict: it is an adversary of the state they themselves oppose. That dynamic has helped produce expressions of sympathy for Israel that are unusually visible by the standards of much of the Middle East.
What may be new is the consequence
It is impossible to know whether hostility toward a celebrity for publicly backing Palestine has significantly increased since the recent wars, or whether audiences previously felt much the same way but were less willing or less able to act on it.
What appears different in the Mohammadzadeh case is the consequence.
Attitudes long visible in protest slogans, football stadiums and relatively uncensored corners of social media appear to have crossed into the commercial calculations of a major, officially licensed cultural production.
That creates an extraordinary inversion.
For decades, Iranian artists have had reason to fear the consequences of straying too far from state ideology. Mohammadzadeh publicly embraced a position at the heart of that ideology — rejection of Israel and support for Palestine — yet the production employing him cited audience reluctance when removing him.
In other words, a political stance heavily promoted by the state appears, at least in this case, to have become a liability with part of the paying public.
That does not prove that support for Palestine has become broadly unacceptable in Iran. Mohammadzadeh had other controversies, and the high price of “Arash” tickets provides a separate explanation for the production’s difficulties.
Nor does the episode establish that public attitudes changed because of the wars. The “Neither Gaza nor Lebanon” slogan and polling against Tehran’s regional policies long predate them. The more significant development may instead be that such sentiment can now manifest itself openly enough to affect a high-profile cultural project.
Whether the reversal is allowed to stand is another matter.
Public theater performances in Iran require authorization from the Ministry of Culture and Islamic Guidance, giving the state considerable leverage over productions and venues. Iranian regulations require theatrical works shown to the public to obtain a performance license from the ministry.
Hardline media are already framing Mohammadzadeh’s removal as punishment for supporting Palestine, a cause the Islamic Republic regards as central to its values and foreign policy.
It remains to be seen whether “Arash” will proceed without official consequences or whether its producers will face pressure over a decision that runs so visibly against the political priorities of the state.
If the removal stands, its significance may extend beyond one actor and one play. It would offer a rare example of a sentiment largely excluded from Iran’s controlled media environment exerting enough pressure from below to produce a tangible result inside the cultural system the state itself regulates.
