Arab television drama

[2] During the evenings of the month of Ramadan, after the Iftar meal is eaten to break the day's fast, families across much of the Arab world watch these special dramas on television.

[6] According to the market research firm Ipsos, during the first two weeks of Ramadan 2011 television figures rose across the Middle East by 30%, and as many as 100 Arab soap operas and shows broadcast on state and private channels.

[11] On the other hand, the commercialization of Ramadan and TV programming is seen to be a natural process as Egyptians are increasingly adopting more Westernized lifestyles due to Egypt's developing economy.

[12] Private corporations began to provide funds for the production of serials and advertisements, including but not limited to the salaries of stars, extravagant sets, props, and location shoots.

[12] Today, there are two ways through which consumerism relates to Egyptian melodramas: the first being the fascination with and admiration of actors and actresses – referred to as "stars" by viewers; and the second being television commercials.

[12] In 2012, Egyptian television channels had more than 50 soap operas on offer, for a combined production cost estimated at a record E£1.18 billion.

[13] They tackle prevalent social and political issues – such as corruption and oppression –, in a way that allows individuals and families to relate to the events or characters of the musalsal.

[14] They invite the audience to evaluate current issues, from different viewpoints, as they can relate to certain aspects, while also being entertained, as the serials provide a certain distance between viewers and actors.

[13] As such, excessive consumption and desire for money at any cost are themes that appear in storylines, usually leading characters to engage in illegal and corrupt practices, such as bribery, embezzlement, and drug dealing.

[12] Storylines typically emphasize the vulnerability of the younger generation to obtaining financial security through marriage, engaging in illegal or demeaning work, or turning to drug dealing and addictive consumption.

[12] Another representation in relation to money that has dominated in Egyptian cinema and television drama is marking the contrast between rich and poor, often portrayed as corrupt versus noble.

[12] Egyptian television programming provides a paradox between attempting to teach society of the realities of gaining money through immoral and illegal means, while constantly being exposed, and subjected to luxurious and extravagant lifestyles.

[12] In 15 March 2018, Netflix added the first Egyptian series Grand Hotel under the name "Secret of the Nile", with English, French, German, Italian, and Spanish subtitles.

[27] Syrian soap operas took off in the 1990s, when satellite-television access increased across the Arab world, and were watched by tens of millions of people from Morocco to the Persian Gulf.

Oftentimes, these dramas are permeated by themes of tension between the traditional and modern ways of life with specific emphasis on the patriarchal systems and the role of women within them.

Awdit_Al-Ruh
Publicity photo for the Egyptian miniseries The Return of the Spirit (1977)
Film set of the series Unshoodat Al Matar
Joelle Behlok and Rasheed Assaf in the drama series The Last Cavalier