November 29, 2022

Bashir Salahuddin Bio, Age, Wife, Career, Movies, Tv Shows, Net Worth, Height, Glow

Bashir Salahuddin Biography

Bashir Salahuddin is an American actor, writer, and comedian. Salahuddin produced the half-hour comedy series Brothers in Atlanta along with Diallo Riddle. However, due to some reason, the series got canceled back in 2016. Similarly, he appeared as the male lead, in Hulu pilot comedy, Crushed.

Bashir Salahuddin Age | Family

Bashir was born on 30 June 1976 in Chicago, Illinois, USA. He is 42 years old. Bashir has a brother named Sultan. Not much is known about his parents and siblings names.

Bashir Salahuddin Education | Career

He attended Whitney M. Young High School on Chicago’s west side. Bashir graduated from Harvard, class of ’98, and created Paper Planes. He met fellow writer and friend Diallo Riddle there. Both have a passion for artistic collaboration, which began during their time at Harvard. Together, they created their production company, named Paper Planes, as a branding effort to describe their intelligent, collective comedic personality. They viewed the paper plane as a cool, iconic symbol of both writing (the paper) and slight rebelliousness (throwing a paper plane in school).

Bashir worked as a paralegal in Chicago after graduation but saved his money so that he could move to work in the entertainment industry in Los Angeles.  In January 2016, it was confirmed that the half-hour comedy series “Brothers in Atlanta”, (based on a 2013 pilot) that HBO had commissioned from Salahuddin and Diallo Riddle, had been canceled. In March 2016, Salahuddin was cast as the male lead, siblings Will and Celia (Regina Hall), in a Hulu pilot comedy, Crushed.

Bashir Salahuddin Wife

Bashir is married to his high school sweetheart Diallo Riddle. Together they started their production company Paper Planes.

Bashir Salahuddin and his wife

Bashir Salahuddin Movies | TV Shows


  • Snatched (2017) as Morgan Russell
  • Gringo (2018) as Stu
  • A Simple Favor (2018) as Detective Summervile
  • Top Gun: Maverick (2020)


  • Late Night with Jimmy Fallon
  • Looking (2015) series regular (season 2), 6 episodes
  • Looking: The Movie (2016)
  • GLOW as Keith Bang (2017–2018), 14 episodes
  • The Last O.G. (2018)

Bashir Salahuddin Awards




Nominated work


2011 63rd Primetime Emmy Awards Outstanding Writing for a Variety, Music, or Comedy Series (shared with the others)

Late Night with Jimmy Fallon


2012 64th Writers Guild of America Awards Comedy/Variety (Including Talk) – Series (shared with the others)


2017 69th Writers Guild of America Awards Comedy/Variety – Sketch Series (shared with the others)

Maya & Marty


2018 24th Screen Actors Guild Awards Outstanding Performance by an Ensemble in a Comedy Series (shared with the others)



Bashir Salahuddin Net Worth

Salahuddin’s estimated net worth is around $1 million. As a multitalented writer, Salahuddin who has played his hands on article writing and screenwriting, his estimated salary is more than $80,000 annually.

Bashir Salahuddin

Bashir Salahuddin Height

Bashir’s height is currently unknown.

Bashir Salahuddin Comedy Central

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Bashir Salahuddin Glow

Salahuddin portrays Keith Bang in the Tv series Glow. GLOW  is an American comedy web television series created by Liz Flahive and Carly Mensch.[1] The series revolves around a fictionalization of the characters and gimmicks of the 1980s syndicated women’s professional wrestling circuit, the Gorgeous Ladies of Wrestling (or GLOW) founded by David McLane. Rich Sommer also has a recurring role in the series as Mark Eagan, and Marc Evan Jackson as Gary.

Bashir Salahuddin Grey’s Anatomy

Bashir Salahuddin played Tucker Jones in the season two Grey’s Anatomy episode Bring the Pain.

Bashir Salahuddin Interview


By Beth Delany / Q & As / July 26, 2018
Adopted from;

The writer, actor, and comedian weighs in on his upcoming Chicago-set show, ‘South Side’

Chicago native Bashir Salahuddin has written for shows like “Late Night with Jimmy Fallon,” “Maya & Marty” and “The Last O.G.” for years — but now he fulfills another lifelong dream with “South Side,” a spunky and affectionate sitcom currently filming in Chicago and premiering on Comedy Central next year. Co-written by Diallo Riddle and Salahuddin’s brother, Sultan, the show presents a different perspective on life in the city. Here, we chat with Salahuddin about his journey from talk TV to creating the close-to-home series.

What has it been like transitioning from late-night to Comedy Central?Anybody who’s ever worked on a daily talk show knows that it’s an incredible undertaking. You’re in [NBC’s New York headquarters] 30 Rock and you have all the history and the pressure and they’re relying on you to carry that torch forward. Coming here, our only real goal was to try to be authentic and keep everybody laughing. All of [the show’s writers] came up in late-night comedy; we all have those battle scars. To be able to do it here with more years under our belts, it’s a dream come true.

Why is it so important to you to get this new series right? The purpose is to bring to light a fuller picture of Chicago. We live and laugh and we have fun and we make jokes. Some of us are scientists and some of us are engineers and some of us sell socks on the side of the highway. … It was really important for me to show the broader South Side.

What in particular do you hope viewers grasp about the area? What [people] read in the news about violence and economic difficulty, those are moments that have to be dealt with. … But my experience [growing up there] was so different from [that]. What I watch is gut wrenching; it [speaks] to this very small percentage of people who are up to no good. … There’s a certain love on the South Side that can be experienced nowhere else in the world.

How is your show different from other representations of the city? There’s [nothing showing] a hard comedy set on the South Side of Chicago — and yet, the city is so synonymous with comedy. Everything from Second to City to the likes of Bill Murray, John Cusack [and] Bob Odenkirk. There are so many great comedy luminaries and yet, when you think of Chicago, you associate it with [crime]. We don’t want to be ignorant of the challenges; we just want to say that’s only part of the picture. The larger picture is a lot more beautiful.

Bashir Salahuddin News

With Broad City, Ending, Has Comedy Central Already Found Its Next Generation of Hits?

Comedy Central is a network forever scrambling to stay ahead of the cultural Zeitgeist. Like its corporate siblings MTV and Nickelodeon, the channel has historically aimed its programming at younger audiences, a group notable for notoriously fickle and ever-evolving tastes. Over the years, Comedy Central’s focus on viewers under 35 (and particularly young men) has resulted in some pretty dramatic shifts in tone: The late-1990s frat-boy antics of Craig Kilborn and Jimmy Kimmel’s The Man Show gave way to the sharp political satire of Jon Stewart, Stephen Colbert, and Dave Chappelle, which then evolved into the cultural commentary of Key and Peele, Inside Amy Schumer, and Broad City. Now, with the Abbi Jacobson and Ilana Glazer–led Broad City wrapping up its run Thursday night, Comedy Central is ready to reinvent itself again.

While it’s hardly giving up on younger men and hard-core comedy lovers, the network is increasingly going after older eyeballs and more casual comedy fans while also opening up its development roster to creators and on-air talent from diverse backgrounds. In late 2017, it introduced the dark and cinematic workplace comedy Corporate to mostly rave reviews and solid ratings (it recently wrapped its second season and is awaiting word on a renewal). This year brought The Other Two, a scripted half-hour from former Saturday Night Live head writers Chris Kelly and Sarah Schneiderthat’s gotten equally strong reviews and expanded the network into a genre it’s rarely tackled before, the family comedy. (Its season-one finale airs Thursday night.) And the next few months will feature new shows from Broad City alum Arturo Castro and Jimmy Fallon vets Bashir Salahuddin and Diallo Riddle, along with the return of David Spade in a new nightly series following The Daily Show with Trevor Noah and a reboot of Kimmel’sCrank Yankers.

To find out more about Comedy Central’s latest effort at reinvention, Vulture rang up Sarah Babineau and Jonas Larsen, who heads up series development for the network. They talked about the success of The Other Two, the future of sketch comedy at the channel, and how Donald Trump may have ruined political comedy for a while.

How did The Other Two end up on Comedy Central? It’s not the kind of series for which you’re known.

Sarah Babineau: It was a little bit of a departure for us, but [with] Broad City, we had found that heart and comedy don’t have to be mutually exclusive. Actually, when both of them are there, it elevates the other. Chris [Kelly] and Sarah [Schneider] wrote the pilot on spec when they were still at SNL, and they knew exactly what they wanted to say with the show. And it hit our creative filters square on, all of them — super funny, personally relatable, culturally relevant, and provocative. So it was a no-brainer for us.

It’s a bit of a risk doing a family show on a network not known for those.

Jonas Larsen: That’s exactly why we wanted to do this show. It felt like it brought in an audience that perhaps didn’t see Comedy Central that way. We did a lot of research and found out that everybody has a family!

Sarah Babineau: It was also a departure in that it’s a very creator/director-driven show. Corporate was probably the first step in that direction. The Other Two took a step further by really leaning into the storytelling aspect.

The buzz for The Other Two has been amazing, but the ratings haven’t quite caught up to the praise yet. Depending on the week, the premiere telecast gets around 300,000 to 400,000 viewers, including some delayed viewing. I know that’s not the full picture of who’s watching, so are you seeing other indications your audience is watching via other platforms?

Babineau: A lot of people — a lot of people — are watching Broad City and The Other Two on VOD. They’re watching it wherever they can find it. We [rerun] the shows, we have them available on demand, you can buy them on iTunes, on Amazon, they’re on and the app. It’s not just the Nielsen numbers. Also, if I had a dollar for every time I did an informational meeting with someone in their 20s who said they watch Broad City every week, but through their parents’ cable password … [Laughs.]

I’ve actually been watching the show on the Comedy Central Roku app because they run uncensored, and you get the bonus The Other Showaftershow segment.

Babineau: I was at a comedy show a few weeks ago with Sarah Schneider and someone came up to her and said, “Oh my God, The Other Show is my favorite show.” I thought they meant The Other Two, but they were talking about The Other Show because they loved hearing Chris, Sarah, and the cast really diving deep into the show.

Historically, Comedy Central and Viacom networks have avoided letting content live elsewhere, like on Netflix, unless there’s some sort of contractual obligation with the creators. Wouldn’t it help to put The Other Two or Corporate on an outside streaming platform?

Larsen: You’ve probably seen [Viacom’s] recent acquisition of Pluto, which is obviously a step in that direction. That deal has just closed so we’re still working out all the details, but certainly the goal is for us to put our content out on that platform. We’re not really exploring other platforms.

Babineau: We would be open to it later on in the life of a series. Schitt’s Creek didn’t go onto Netflix until after [season two]. I think there’s something to building it on your own platform first.

Larsen: And we’ve done that with Hulu. They have Broad City and South Park and some other shows. It’s not like we haven’t done it, but we do it very targeted and specifically.

You renewed The Other Two just a few weeks after it launched. Had you made the call even before it premiered to commit to at least two seasons, if only because it takes a while for shows to find an audience in the Peak TV era?

Babineau: In our minds, we were ready to pull the trigger as soon as we watched the season. And then our hunch was confirmed that other people would really like it when we put the first episode up on YouTube. After it premiered [on Comedy Central], it retained the Broad City audience, no problem. So it just felt like, “This is a natural successor to Broad City and now we need to just stick with it.” It is fun to see the conversation continue over ten weeks, versus that crazy one weekend of binging that everybody does from, like, PEN15 and Russian Doll. Even though they were both great shows, it’s harder to maintain the conversation over a longer period of time because you can watch them all at once.

Let’s talk about some other things. You’ve mentioned in recent interviews how you want to open up your development slate to voices that always haven’t been heard on the channel, or at least not recently. And not just in terms of gender and ethnicity, but geography. How are you doing this, looking ahead to the rest of this year and 2020?  

Larsen: We’re really proud of the diverse slate of voices that we have.Awkwafina is coming out next year — we actually started working with her three years ago. Robbie, which is set in a small town in the south and fronted by Rory Scovel, it’s representing a part of America you don’t always see on television.

Babineau: We also have South Side coming out this summer, along with AlternatinoSouth Side takes place in the south side of Chicago, and it’s created by Diallo [Riddle] and Bashir [Salahuddin]. And Alternatino is Arturo [Castro’s] sketch show.

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