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one must go back to the outset of the crisis, nearly three years ago. Back then, there were over 30 series released every season, produced under a diverse range of production houses and addressing a wide array of subjects. The industry cycle was more or less stable, starting with producers in competition with each other, to satellite channels racing to purchase the best series’ screening rights and advertising revenues being the central source of profit. The main issues concerned increasing production budgets and the skyrocketing salaries of certain stars.

the state was preparing a plan to exert control over the entire market. The first signs of this plan emerged in June 2017, with statements by the president and a number of government officials voicing their displeasure with the content offered on Ramadan TV series, and their desire to remedy the situation. This remedy manifested in the form of extreme censorship measures, including the establishment of the Drama Committee within the Supreme Meda Regulatory Council, designed to monitor the TV drama industry.

The effects of these directives became apparent last year in the striking similarity of the content of the series released, as well as the ubiquity of police and army officers as characters in most of them

satellite channels, many of which — including ONtv and Al Hayah — are currently controlled by EMG, owned by Eagle Capital for Financial Investment, a private equity fund founded by Egypt’s General Intelligence Services (GIS)

Television channels, sources say, will fill up the remaining airtime — previously overflowing with series — with variety television shows, including talk and game shows, instead. Tawfiq Okasha, the controversial media personality who made his comeback in March — courtesy of  Synergy Productions and EMG — recently dedicated a segment on his show (which airs on Al Hayah) to criticizing actors and “the obscene sums of money they demand.” Okasha then proceeded to discuss a plan to bring down the number of series airing this Ramadan to 18, with each television channel airing only three.

as a result of this monopoly, many producers are out of work this year, including Beelink’s Mohamed Mashish, El Adl Group’s Maha Selim, and producer Ahmed Al Sobky, when the three of them combined had eight series screening last Ramadan

most seem to attribute it to the president, who appears to be irked by the scale the industry had come to operate on and the high salaries paid to TV stars

difficulties the company faced when filming last year’s Eagle of the South, as a result of excessive military intervention in the series’ content and production process. Members of the Armed Forces were often present on set and would interfere in most details during the shoot, not to mention that the show’s star, Mohamed Ramadan, would often miss shoots because his military conscription service overlapped with shooting times. Sometimes, he would arrive to the shooting location in a military vehicle

Shaaban believes that the current setback in television production has been primarily brought on by declining economic conditions, which have led to a decrease in advertising budgets. The industry, he says, is built on the flow of money from advertising agencies to satellite channels to production companies. If channels were reaping advertising revenues, they would be able to buy series from producers, who in turn would be able to produce more series, and so on. However, given the current economic climate, corporations haven’t been spending as much on advertising as they used to, and this has definitely affected the production cycle.

prominent actor Adel Imam, who could potentially miss his first Ramadan season in seven years, due to alleged censorial objections to the subject matter of his new series, in which he was reportedly set to play the president’s physician

The initial outcome of Morsy’s monopoly over the Egyptian drama market became clear last year with the elimination of certain series from Egypt’s Ramadan season, including El Adl Group’s We Have Other Statements (starring Youssra) and Land of Hypocrisy (starring Mohamed Heneidy), which were only aired on non-Egyptian channels, as well as Beelink Productions’ What Came to Pass (starring Ruby), which was not broadcast at all. Now, with Morsy’s newly acquired control over more channels, in addition to EMG’s acquisition of shares in the CBC television network and Morsy’s partnership with D Media, it appears that other producers will no longer have access to air their series in Egypt. Both D Media and DMC, another prominent television network, are owned by the GIS.

It is possible that, for the first time in history, the Egyptian drama sector will produce less work than its counterparts in Lebanon, Syria and Kuwait, who produce 10 to 20 works on average each Ramadan season.

2 million Egyptian workers of all stripes who contribute to and depend upon this industry, patiently waiting for the Ramadan season from year to year

Medhat estimates that the industry spends about LE2 billion annually and brings in about LE4 billion in revenue — all of which, in the 2019 season, will go almost entirely to one entity

One interpretation of these recent developments is that the Egyptian state — nostalgic for the heyday of state television, when the state alone was in control of all television productions — is planning a comeback under new terms, tailored to fit the demands of the current moment. After exerting its control over satellite TV channels, it now seeks to control production as well, in order to keep the media and entertainment sectors securely under its wing, only for the state to emerge once again as the only player on the local scene.