WANA (Feb 22) – A production “tsunami” appears to have swept through the television and streaming industry across the Arab world. For Ramadan 1447 (2026), 17 Arab countries have collectively produced 244 television series — a sharp rise from approximately 145 series aired during last year’s Ramadan season.

 

The figures represent a nearly 68 percent increase in industry turnover within just one year. To put that into perspective, if a country such as Syria produced an average of 8.5 series last year, that number has now climbed to 14.3 — nearly doubling overall output.

 

Unlike last year, however, there are fewer lavish historical productions similar to “Muawiya.” Major producers have instead focused on family and psychological melodramas, along with comedies. Fourteen series produced for a single month highlights the scale of investment — a number that dwarfs Ramadan drama production in many other regional markets.

 

Egypt Maintains the Lead — Backed by Saudi Funding

Egypt remains the leading producer. While Egyptians produced 38 series last Ramadan, the total for this year has climbed to 44 series across all Arab platforms.

 

 

A significant portion of these productions has been financed by the Public Investment Fund (PIF). The Saudi fund has invested heavily in platforms such as Shahid, MBC, and Watch In, participating in both the production and distribution of Egyptian dramas.

 

Of Egypt’s 44 Ramadan series this year:

  • 11 are melodramas
  • 15 are thrillers
  • 6 are comedies
  • 12 fall into other genres

 

Approximately 20 of these titles were produced with Saudi financial backing.

 

Kuwait Emerges as a Production Phenomenon

Kuwait ranks second this Ramadan season, producing 28 series — more than double its 13 productions last year. Much of this expansion has been supported by funding from the United Arab Emirates and Saudi Arabia.

 

Of Kuwait’s 28 series:

  • 19 are melodramas
  • 5 are comedies

 

Notably, Kuwait has also ventured into the horror genre with “Sakanhum Masakenhum,” one of only two horror series produced in the Arab world this Ramadan season.

Algeria, Syria, and Iraq: 22 Series Each

Three countries — Algeria, Syria, and Iraq — have each prepared 22 series for Ramadan broadcast.

 

Algeria’s growth is particularly notable. Despite receiving minimal Saudi or Emirati financial backing in recent years, Algeria increased its output from 12 to 22 series, demonstrating that the regional production surge is not solely driven by Persian Gulf capital.

 

Syria, by contrast, has significantly benefited from Saudi investment. Roughly half of its Ramadan productions were financed directly by Saudi sources, enabling output to double from 11 to 22 series.

 

Among Syria’s productions are three politically charged dramas critical of the Assad era:

  • “Al-Suriyun Al-A’daa” (The Syrians’ Enemies)
  • “Al-Khuruj Ila al-Bi’r” (Exit to the Well)
  • “Al-Qaysar: La Makan La Zaman” (The Caesar: No Place, No Time)

 

These series address themes related to the eras of Hafez al-Assad and Bashar al-Assad, focusing on prisons, political conflict, and historical reinterpretation.

Another notable Syrian production, “Molouk al-Yemen,” explores Yemen’s history and depicts political struggles among Ethiopians, Persians, and other rulers over the territory. This series was also financed by the Persian Gulf Arab states.

 

In Iraq, many productions also received Saudi backing. Unlike last year — when themes such as ISIS and resistance dominated Iraqi dramas — this year’s lineup leans more toward melodrama and even horror. Iraq increased its total output by two series compared to last Ramadan.

 

The Remaining 12 Countries

Saudi Arabia itself produced 18 series this Ramadan season. At the other end of the spectrum, Oman produced just one. Other contributing countries include:

  • Tunisia: 16
  • Morocco: 14
  • United Arab Emirates: 13
  • Libya: 12
  • Yemen: 12
  • Lebanon: 8
  • Jordan: 5
  • Bahrain: 4
  • Qatar: 2
  • Palestine: 1

Yemen stands out with 12 series — triple its production from last year — including resistance-themed dramas such as “Ahd al-Ahrar.” Lebanon also recorded a fourfold increase, jumping from two to eight series.

 

A Question of Quality

With production volumes surging across the Arab world, the key question remains: will this rapid expansion translate into higher-quality content? And more importantly, do these series have the potential to secure distribution on international streaming platforms beyond the regional market?

 

As the Ramadan season unfolds, industry observers will be watching closely to see whether this unprecedented output represents a sustainable creative boom — or simply a temporary wave fueled by investment capital.