As the month of Ramadan draws near, the television production industry is abuzz with activity, racing against time to finalize filming and prepare for the highly anticipated TV season. These Ramadan series not only entertain  audiences but also serve as vital contributors to the economies of countries like Egypt, Lebanon, and Syria. With productions filmed locally, employing local talent, and utilizing resources within these countries, the Ramadan series play a crucial role in stimulating economic growth and supporting various sectors. This year, viewers can expect a diverse and slightly unexpected lineup of series that perhaps, if we dare say, very different than what they've been used to receiving in past seasons.

Our sources at HConsult.me,  an Arabic content consultancy, who have been tracking investments in Ramadan series since 2017, reveal that unlike previous years, there appears to be a spike in funding for a new genre: Historical Dramas, or more generally known as 'Costume/Period Dramas' when traded in international content markets.

Costume/ period dramas not to be confused with Arabian desert "Bedouin" dramas, are a genre of television shows or films that are set in a specific historical period and are characterized by elaborate and authentic costumes, sets, and props that are designed to accurately represent the era. They often focus on dramatic narratives based on historical events, figures, or are inspired by classic literature. Costume dramas can be Factual or Fictional. The attention to period detail in clothing, manners, and social context is a hallmark of this genre, which helps immerse the audience in the time period being depicted.

In the context of the global content economy, Arabian costume/period dramas are definitely not the most popular genre in the West. However, if you visualize a vertical line dividing the globe in half down from the Middle East, demand for this genre usually exceeds supply, as you move east, partially due to its scarcity in international content markets, this genre sells like hot cakes among TV networks and platforms in regions on the opposite side of the globe, away from the US and Europe. Countries like India, China, Nigeria, Indonesia, Brunei, Malaysia, Pakistan, Russia, and all CIS countries. Essentially the nations with a significant population and a cultural appreciation for depth, Art, and history, show a strong preference for costume/ period dramas.  

The Arabic Speaking MENA region is known globally for its rich culture and history that outdates many modern nations, for that reason global drama buyers often approach the Arabic content market with the expectation to find libraries filled with rich religious historical stories, or tales similar to Arabian global Classics like Alaadin 1001 Arabian Nights, Alibaba, Sindbad, and other historical fancy costume dramas that parallel the vibrance and history of this part of the world. These drama buyers often leave disappointed that such content, if available in MENA, is very scarce, overpriced,  too old , often the wrong format, not available in HD, not adequately subtitled... basically, if its isn't overpriced, it usually is not suitable for international trade. Such business deals almost always end up going to non- Arabic Turkish or Russian alternatives- countries that have become seasoned marketers and exporters of this genre.

As various industries are starting to shift their business focus from the West to the East in response to the current global economic climate, the content industry is no exception. It may seem that Arabic producers, known for their haphazard production decisions, are now finally realizing the value of data-driven investment decisions and are studying global demand for content genres in effort to start exporting. This shift is evidenced by a 30% spike in investments in period dramas, particularly from the GCC, also suggesting that governments may be encouraging the preservation and documentation of their countries' histories by providing some support for these productions.

Speculations aside, and knowing how the Arabic production industry works, this strategic pivot is most likely a nice coincidence. Arabic producers have long embraced a traditional approach to production decisions, often referred to as 'producing with BARAKA.' This term signifies a heavy reliance on a mix of gut feeling, divine coincidental blessings and a sincere, deep faith in the positive energy that attracts favorable economic results. This deep cultural faith in 'Baraka' appears to be effective; otherwise, they would all be out of business and not running a Ramadan content industry that turns over half a billion dollars every year.

Whether driven by data, divine cultural faith, or governmental encouragement, the newfound interest in a genre that may have struggled locally but is in high demand globally could mark a new era for the Arabic content industry as it seeks to establish not just a presence, but a unique, specialized position on the global stage.

According to the HConsult Arabic Content investment Tracker, only three trade-quality costume/period dramas were released two Ramadans ago in 2022, such as 'Fateh Al Andalus' by the Kuwaiti production house Al Maha and the Libyan title 'Al Saraya/The Serail' that made it to the tradable list. In the last Ramadan, we witnessed four to five more such titles make it to the internationally tradable quality costume/period drama list, such as Egypt's 'Resalat al Imam/The Imam's Message', Saudi Arabia's 'Safar Barlek', Syria's 'Forsan Al Zalam/Knights of the Night', and Libya's season 2 of 'Al Saraya/The Serail.

Focusing on Ramadan this year, 10 such drama series are set to be released, with the least expensive among them costing around $3 million to produce, and the most expensive soaring well into the double-digit millions. With such huge production budgets, distributors are well aware that achieving breakeven for this genre is unlikely if they depend solely on distribution revenue from the MENA region.

What's remarkable is that not only has the count of titles from this genre doubled, but also the estimated production budgets allocated for this genre have more than doubled in the past two years, a record increase in the history of Arabic costume/period drama production. Investment values in this genre are expected to rise further with the imminent release of the highly controversial and repeatedly postponed series 'Moawiya' by MBC Studios.

The count of standout expensive productions releasing this Ramadan season 2024 is as follows: two from Egypt, three from Saudi Arabia, and one each from Morocco, UAE, Kuwait, Syria, and Iraq. Here are a couple of the most heavily marketed and highly anticipated ones:

Egypt's 'El Hashashin', or 'The Assassins': This non-fiction 30-episode story is about one of the most dangerous and most feared terrorist groups in history, whose assassination operations continued for two centuries. Shot in three different continents, 'El Hashashin' is considered the most expensive production in the history of Egyptian series. The creators of the project hired the battle team from the global series 'Game of Thrones,' along with Egyptian specialized teams, to execute the action and battle scenes. The series is a collaborative effort between United Media Services, an Egyptian government-owned production company, and semi-government Production Giant Synergy.

Alf Laila w Laila is the modern reinterpretation of the classic tale 'One Thousand and One Nights'. This 15-episode series boasts a classy cast led by Yaser Galal, the Egyptian celebrity known for his 'Macho Man' roles, and Yasmine Raees, who is known for depicting the depth of the female experience in her roles. The project is a collaboration between three companies: Media Hub, Aroma Studios, and of course, no such big production is blessed without the Egyptian government's collaborative efforts provided by United Media Services.

Lebanese production giant Cedars Art has also announced the 30-episode historical drama 'Taj' among its diverse offering of eight titles this season. 'Taj' is a grand historical drama set in the 1940s, filmed in the heart of Damascus, Syria, specifically during World War II. The story delves into the life of the former boxing champion, Taj al-Din al-Hammal.

As the landscape of the Arabic content industry continues to evolve, the growing supply in costume/period dramas signifies a promising shift towards a more specialized and internationally appealing regional offering. The substantial investments and the increasing number of high-quality productions in this genre not only reinforce the region's rich cultural heritage but also position the Arabic content industry as a formidable player in the global entertainment market.  With a  global 20% surge in demand for non-english language content,  the future of International exports of Arabic Drama looks brighter than ever, promising not only captivating storytelling but also significant economic contributions to the region.