I will tackle these aspects through a close analysis of the Arab press from March to July 2009, the period that witnessed the peak of the series’ success.
Women have ‘veered off track into a culture of empty-headed narcissism’, she argues, citing a survey that suggests a quarter of young women would rather win a TV beauty contest than the Nobel Peace Prize – despite girls now routinely outperforming boys throughout school.
Dallas, which featured an unconventional family’s struggles over power, wealth and sex. It was the first time that a TV series had captivated simultaneously so many people around the world.
The series were marked by several coups de théâtre – the return of dead characters, revelations of family ties and missing children, all emblematic ingredients as explained by Laura Stempel Mumford in Love and ideology in the afternoon: soap opera, women, and television genre (1995).
Class struggle also makes appearances, especially in Sanawat al Dayaa’.
On the other hand, in a region of long Ottoman domination, what linguistic and cultural issues do these series and their dubbing in dialect raise?
What have they exposed about Arab societies in terms of values?
Moreover, I shall draw conclusions about Arab drama and entertainment as a whole, as well as its inherent contradictions, mostly in terms of values.
Finally, I will discuss the next trends within this field as well as Arab satellite media in general, including the possible return of local dialects after the domination of standardized Arabic.
The sales of these goods sometimes even surpassed those of Arab leaders like Saddam or Yasser Arafat in Gaza.
Soap operas can be distinguished by their specific narrative form.