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Egyptian television series that aired during the peak Ramadan season this year dramatically decreased by half from previous production volumes. Production restrictions and censorship in the most populous Arab country are on the rise, tough circumstances for the entertainment industry, exacerbated by a military-linked production company’s recent monopoly of soap operas. The move also raises concerns about whether a similar fate might be in the works for the film industry.

In late 2018, a memo circulated to industry professionals by state affiliate Egyptian Media Company (EMC) laid out a set of regulations making it virtually impossible for almost any production company asides from EMC sub arm Synergy Production to produce soap operas in the 2019 Ramadan season

“We have to understand why Synergy is gaining this much control…it’s also very clear that some series [this year] have an almost didactic direction, promoting particular ideas such as improving the image of police officers. Mandating which themes are to be discussed and which won’t be is not censorship, its indoctrination,” Aly Mourad, the CEO of Al Shorouk for Media Productions, tells Open Democracy. “I don’t think we’ve heard of this level of censorship since the time of [Former President] Nasser; it’s like we are going back 60 years in time.”

Turkey’s second oldest private TV station, Flash TV, an entertainment outlet, has announced a self-imposed suspension of broadcasting for two months, claiming heavy political pressure.

The demolition of the headquarters of the 28 year-old TV station was recently ordered by a court in Bursa province.

an evening news bulletin, which was considered relatively critical in the overall political environment of the country.

People are more likely to endorse authoritarian values after watching the movie 300, according to new findings published in the journal American Politics Research.

The students who watched 300 were more likely to endorse authoritarian views, the researchers found, while the opposite was true of students who watched V for Vendetta.

we should always be prepared to think critically about the messages we get in media.”“This is particularly the case with entertainment media because we engage with these films and television shows in a relatively passive way, which is to say we do not have our normal psychological defenses up as we might with news media.”

The move is officially banned by the Saudi Interior Ministry’s National Drug Control Commission, which consider the move to be a reference to cannabis consumption.

“the move is a well-known move…known to represent smoking hashish which leads to addiction.”He added that there was “no doubt” that anyone taking part in the move would be subject to questioning and punishment.The move could warrant a prison sentence, a fine or both.

By using the internet to show films, Telfaz11 and other Saudi production houses have managed to circumvent traditional distribution channels and make do without cinemas. Even so, Saudi filmmakers have to contend with how to tell their stories within the bounds of the kingdom’s ultraconservative mores and its limits on free speech.

The emergence of a Saudi film scene is happening as the kingdom begins to loosen the reins on fun and entertainment after nearly two decades without cinemas or concerts.

The government has also backed a Saudi film festival that’s taken place for the past few years in the eastern city of Dhahran. This year, some 60 Saudi films were screened.

The End (El-Nehaya), the Egyptian dystopian science fiction thriller series, has captured the imagination of audiences throughout the Arab world this Ramadan TV season. It is ranked the third most popular series this season, and has generated a lot of discussion in social media about its futuristic technology and debt to Hollywood science fiction and dystopian films.The End was also lumped into the debate over normalisation in this year’s Ramadanic TV programming and was attacked by the Israeli Foreign Ministry for its anti-normalisation stance. The End is premised on the fictional idea that the Arab world would become a superpower and that Israel would be destroyed less than a century into its establishment — that is, in less than thirty years. In its place, Al-Quds conglomerate will be created and will be under total Arab control.

Some contrasted the daring futuristic scenario with the utter impotence of the Arab world today, to offer any viable solution to the Palestinian struggle for freedom and the ongoing Nakba. Others thought it was enough that the series managed to provoke and infuriate Israel.

The series does not only substitute one form of domination in Al-Quds conglomerate for another. More importantly, the Palestinians are completely erased from Al-Quds conglomerate itself.

On July 28, The Economist ran a story on what it said is why women are so much “fatter” than men in Arab countries. The story, titled “Why women are fatter than men in the Arab world,” laid the blame primarily on cultural restrictions on women that hinder their access to exercise and outdoor spaces. To accompany the short report, The Economist chose a photo of Enas Taleb during her performance at Iraq’s annual cultural Babylon Festival, thus portraying Taleb as an example of such overweight.

Taleb, 42, is a veteran of Iraqi TV dramas who began her career in locally produced shows at the age of 16. From 1996 to 2002, there were hardly any TV shows that did not include her as one of the main protagonists. She has appeared in ads and music videos in Iraq over the past two decades and is admired and respected among audiences and peers alike for her highly praised on screen performances and down-to-earth offscreen persona. Until The Economist used her image depicting “fat” Arab women, Taleb had largely remained distant from controversies, be they political, social or religious, unlike many other artists in Iraq’s entertainment scene. Also unlike many in the entertainment business, the married mother of two adolescent daughters has hardly changed her appearance over the years, eschewing the usual plastic surgeries that have become commonplace throughout the Arab world.

Also not properly examined in The Economist piece are other influences, like a culinary culture that encourages the overconsumption of carbohydrates, especially sweets and refined sugar, as exemplified by a rise of imported trends like junk food and sugary soda drinks that are not properly condemned by local health authorities. A general predilection for staying up late at night, which is common behavior throughout the Arab world, could also be an understudied factor contributing to the epidemic in the region.

In a ruling which raises questions about the ability of the American justice system to seize material held by media organisations outside the United States, a judge in New York said the Corporation was obliged to hand over outtakes from interviews with two Palestinian fighters.

a growing trend in America for courts to order the disclosure of journalistic material. Research has shown a sharp rise in subpoenas to media organisations, in particular broadcasters who receive 10 applications for every one sent to newspapers.

tool in the hands of Arab states

a subversive force was seen in the 1970s, when cassette tapes of preachers denouncing governments for tyranny and corruption spread in Egypt and Iran

Arabic satellite news and entertainment media established by Gulf Arab states

Abu Dhabi Media Summit is thought to have set the stage for a major transformation of that United Arab Emirate from a more reclusive presidency of the Gulf federation to an international media player. Although flashy neighboring Dubai has to date been the undisputed leader in the region with its Media City (http://www.dubaimediacity.com) hosting countless news and entertainment organizations, Abu Dhabi's low-key approach is slowly turning it into a news hub for the likes of CNN (www.cnn.com), which began broadcasting from studios there in recent months. An Arab media analyst credits UAE Foreign Minister Sheikh Abdallah bin Zayed Al Nahyan for the beefed up media presence. Sheikh Abdallah, the late ruler's son, was his country's information minister and as a young man interned at the headquarters of an international news agency, where he is thought to have acquired a taste for the industry. Google, represented by CEO Eric Schmidt, is seeing its fastest revenue and user growth in the Middle East/North Africa region, Gulf News quoted the company chief as telling summit participants, although he apparently declined to provide specific numbers. Schmidt also said there was a shortage of Arabic content, and that Arabic websites were slow to be developed. The media summit drew almost 500 global media leaders and delegates, including AOL CEO Tim Armstrong, incoming Ericsson CEO Hans Vestberg, Turkey's Dogan Media Group Vice Chairman Mehmet Ali Yalçindag, and Murdoch partner Prince Alwaleed bin Talal, to name a few. But critics dubbed it a summit for CEOs and geeks that excluded journalists from covering it first-hand.

Journalist Khaled El Balshy — a keen defender of freedom of expression and a democracy advocate, deputy head of the Egyptian Press Syndicate and head of the syndicate’s Freedom Committee — has been vigorously campaigning for the release of jailed journalists in Egypt. This week Balshy himself faced prosecution and risked being imprisoned on charges of “inciting protests, insulting the police and inciting to overthrow the regime.”

On April 6 the Interior Ministry, which had filed the legal complaint against him, was forced to withdraw the lawsuit following an outcry from fellow journalists, free speech advocates and rights organizations

Minutes after hearing of the warrant for his arrest, he boldly declared in a Facebook post: “If they want to arrest me, I’m in my office. I’m not better than those who are imprisoned.”

the central idea of journalism — the conviction, as my old boss Peter Kann once said, “that facts are facts; that they are ascertainable through honest, open-minded and diligent reporting; that truth is attainable by laying fact upon fact, much like the construction of a cathedral; and that truth is not merely in the eye of the beholder.”

the responsibility to separate truth from falsehood, which is never more important than when powerful people insist that falsehoods are truths, or that there is no such thing as truth to begin with

a period in which the executive branch of government is engaged in a systematic effort to create a climate of opinion against the news business

The media world's fetishization of social media has reached idol-worshipping proportions. Media conference agendas are filled with panels devoted to social media and how to use social tools to amplify coverage, but you rarely see one discussing what that coverage should actually be about. As Wadah Khanfar, former Director General of Al Jazeera, told our editors when he visited our newsroom last week, "The lack of contextualization and prioritization in the U.S. media makes it harder to know what the most important story is at any given time."

locked in the Perpetual Now

There's no reason why the notion of the scoop can't be recalibrated to mean not just letting us know 10 seconds before everybody else whom Donald Trump is going to endorse but also giving us more understanding, more clarity, a brighter spotlight on solutions

social websites are expanding Gulf public life in contrasting and sometimes conflicting directions, as nationals traditionally served only by heavily censored media grapple with rapid social change at home and the political turmoil gripping the Middle East

While Twitter has carved out a niche in Gulf countries as a tool for organising protest, it has also emerged as a means of religious enforcement; an alternative to physical demonstrations in societies where such confrontations are taboo; and as a debating chamber between loyalists and enemies of the ruling monarchies

a migration of Gulf nationals of all political persuasions to Twitter. In a recently released infographic, Amman-based social media consultant Khaled el-Ahmad showed users from the region making up more than two-thirds of the estimated 1.3m Twitter accounts active across the Arab world

"We never self-censor," Youssef told The Associated Press in an interview from his Cairo studio. "It's not what we say about the government or don't say, it is how to make people laugh and have a good time. In times like these this is a huge challenge.

"If people laughed, if people think we are respecting their mentality that would be great. Given the circumstances, the panic, the violence, the hatred, the split (in the country), everybody wants you to say exactly what they want. It's very difficult." CBC said the satirist had violated its editorial policy and contractual obligations, and that he upset Egyptian sensibilities by attacking "symbols of the state." Government and presidential officials at the time said the decision was a private issue between Youssef and the station.

Since 2003, the televised media environment in Iraq has witnessed dramatic changes. Whereas Iraqis were once forced to choose between only two local television stations — one administered by the Ministry of Information and the other run by the son of then-President Saddam Hussein — they now have dozens of satellite channels reporting on national affairs.

a deep hunger on the part of many Iraqis to learn about the outside world from which they had been cut off by the old regime's extremely strict official censorship. Iraq undertook a rapid and astounding transition from a model of censorship resembling what George Orwell described in his novel 1984 toward what former US Secretary of Defense Donald Rumsfeld described as a state of "untidy” freedom.

There is a widespread belief that the official Iraqi channel has lost its independence and been completely reduced to subservience to the will and dictates of the government, even to the point that members of parliament have threatened to block funding for its operating budget. In similar fashion, most other Iraqi channels have become captive to political influences either hostile or sympathetic toward the government. Many have concluded that the media outlets in Iraq are actually deepening the country's ethnic and sectarian divides, rather than working to overcome them. 

The decision to expose Egyptians to the show was the outcome of a protocol signed by the Chinese government and the Egyptian Radio and Television Union (ERTU), a division of Egypt's information ministry, for the express purpose of using mass media to prepare the population for a stronger alliance between the two states. China gave ERTU the rights to the program for free and paid for the translation and overdubbing. Egyptian Information Minister Duraya Sharaf al-Din, toasting the program's premiere during a visit to the Chinese embassy in Cairo, told Chinese radio that her government wants the series to instill an emotional connection with China that will popularize political and economic ties.

The show falls outside the news cycle and offers little entertainment value, but for the narrow purpose of inducing Egyptian and Tunisian youth to enroll in their local Confucius Institutes it strikes precisely the right chords. Young listeners in an unstable country with high unemployment hear that they can study Chinese for free and dramatically boost their job prospects. The show's guests manage to preempt defensive reactions from the kind of nationalistic listeners who would bristle at such an overture from a foreign power: They are assured that Egypt, too, is a great civilization and only lags behind China owing to its history of exploitation by the West. A step toward China is a step toward liberation and progress. Beijing comes across as a refreshingly hospitable destination for study abroad, moreover. Its people honor guests and reject the anti-Arab stereotypes widespread in Europe and the United States.

Who listens to such a broadcast? Unlike America's Radio Sawa or the BBC from London, CRI Arabic isn't available on local radio in the region (with the exception of what appears to be a pilot project on FM radio in the sparsely populated North African republic of Mauritania). Nor does it figure prominently among Arabic stations hyped online. One finds it advertised in venues where Arabs already curious about China are likely to go. For example, the website of the Chinese embassy in Cairo features a link on its home page, while in person the embassy's cultural attaché encourages the young people he meets to tune in. Some Confucius Institute chapters also disseminate links to prospective students as a kind of audio brochure.