New artistic trend in Arab countries for producing religious series
This marks a new era in media activity—one where film, television, and drama are no longer seen merely as entertainment, but rather as tools for guiding audience perspectives.
After two delays, ‘Muawiya’ finally aired on Saudi Arabia’s MBC network at the start of the holy month of Ramadan. From the very beginning of its production, the series stirred significant religious and political sensitivities. As the name suggests, ‘Muawiya’ is a dramatized account of the life and political career of the founder of the Umayyad Caliphate. Muawiya, along with his father (Abu Sufyan) and mother (Hind bint Utba), were among the most well-known figures of early Islam, each playing a significant and even transformative role during the Prophet’s mission and in the years following his passing.
Fabricating lineage through a selective narrative of Islamic history
With a $100 million budget from Saudi Arabia, Muawiya was filmed in Tunisia. The director, Palestinian-American filmmaker Tarek Alarian, and the screenwriter, Egyptian journalist Khaled Salah, crafted a story spanning approximately 30 years—from the assassination of the third caliph, Uthman ibn Affan, to the martyrdom of Imam Hussein (peace be upon him). The series visually portrays figures such as Imam Ali, Imam Hasan, and Imam Hussein (peace be upon them), presenting a historical-religious drama through a Saudi lens.
Rumors about the series’ broadcast first emerged in Ramadan 2022, but in the days leading up to the holy month, MBC announced its removal from the schedule. A year later, in the run-up to Ramadan 2023, speculation about its airing resurfaced, only to be followed by reports of its cancellation once again. Both times, opposition from various Sunni and Shia religious institutions across different countries was cited as a key reason for the postponement. Additionally, political considerations played a role, with some analysts suggesting that the restoration of diplomatic relations between Tehran and Riyadh led to the shelving of the project.
Now, after two cancellations, reports indicate that MBC is firmly committed to airing ‘Muawiya’ at the start of Ramadan. Given the recent developments in the Middle East—especially in the Levant—the series carries clear political and sectarian implications. As a result, there has been a surge in artistic, historical, media, religious, and political analyses regarding Saudi Arabia’s decision to broadcast the show.
Various analysts argue that ‘Muawiya’ is not merely a dramatic and cinematic work for entertainment but rather a calculated and strategic move within Saudi Arabia’s broader media and political agenda. The series attempts to link contemporary sectarian tensions between Sunni and Shia communities to historical roots in early Islam, effectively constructing a historical narrative to legitimize present-day conflicts.
By investing heavily in this production, Riyadh—under its new leadership and in alignment with its broader efforts to redefine its identity—seeks to influence the consumption of media and cultural products across the region. The series is not just a historical account of the distant past but a narrative with direct implications for present-day realities.
Ramadan: Springtime of Arab broadcast media
It is well known that the arrival of Ramadan in Arab countries coincides with a boom in television broadcasting. Every year, with the beginning of the holy month, both state-run and private TV networks across the Arab world flood their airwaves with a vast array of drama productions. It is said that nearly 60% of the annual advertising revenue for Arab television channels is generated during Ramadan. As a result, viewership rates experience a dramatic surge. This reality encourages media policymakers and production studio executives to make special preparations, leveraging the unparalleled potential of this month—both for financial gain and for shaping public opinion.
Egypt and Syria have historically made the largest investments in film and television production among Arab countries. However, in recent years, Kuwait and Saudi Arabia have also joined this industry, making drama production a strategic priority. A clear competition has now emerged among these nations in the realm of media and visual storytelling.
From Arab nationalism to religious iconography
There was a time in Arab media production when the focus was on celebrating the great historical figures of the Arab world—personalities like Salah al-Din Ayyubi and Tariq ibn Ziyad. However, in recent years, these icons of Arab nationalism have been replaced by religious figures from Islamic history, and a growing number of historical dramas now center around them. Over the past few years, productions have emerged depicting the lives of Imam Shafei, Imam Ahmad ibn Hanbal, Umar ibn al-Khattab, Imam Muhammad al-Ghazali, and Harun al-Rashid.
In addition, in 2011, a 30-episode series titled Al-Hasanein was produced and aired in Syria, portraying the lives of Imam Hasan and Imam Hussein (PBUH) based on Sunni narratives. It was reported that the religious advisor for this project stated, "Iran produced the series Mokhtar, and we made this in response." Despite this, none of these series were banned in other Muslim countries. However, ‘Muawiya’ has already been prohibited from airing in certain Shia-majority countries, such as Iraq, and institutions like Al-Azhar have reportedly raised concerns about its historical accuracy, casting doubt on its narrative.
In the latest wave of Arab drama production—led by Saudi Arabia, with ‘Muawiya’ as its most prominent example—shaping public perception and influencing historical understanding appear to be key objectives. This marks a new phase in media activity—one where film, television, and drama are no longer seen solely as entertainment but as tools for directing public thought.
Need for a strategic media response
Against such a calculated and complex media strategy, the necessity for a thoughtful and intelligent media policy in response is undeniable. Institutions such as Iran’s state broadcaster (IRIB), which is currently producing large-scale projects like the Salman Farsi series, must not only increase the quantity of their historical and religious productions but also refine their storytelling methods with smart and well-crafted artistic approaches.
Such efforts could disrupt the media strategies of regional competitors that seek to portray certain Islamic sects as violent and intolerant. If the artistic, cultural, and media strategies behind series like ‘Muawiya’ are not countered with strong, high-quality productions, then sectarian and religious conflicts may further intensify, fueling existing political tensions.
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