A man on a motorbike steals a backpack from another man outside a European city store, and the other man quickly gets on his motorbike and a police chase begins between the two bikes.

The camera rotates from all angles and directions to show the details of the mysterious chase in the streets and alleys. The first reaches the foot of a hill overlooking the city and leaves the bag on his motorbike. As soon as the second arrives and prepares to pick up the bag, the first surprises him from behind, planting a syringe in his neck, and he falls to the ground unconscious. Then the first takes off his helmet to discover that he is the Egyptian actor Amir Karara in the new Ramadan series "The Returnees".

One of the police series that will be shown in Ramadan this year, written by Baher Dowidar, and directed by Ahmed Nader Galal.

Despite the presence of the political part represented in series such as “Raafat El-Hagan” “And Tears in Rude Eyes” and “The Fall in Beersheba”, it was a presence in the general national framework dealing with comprehensive issues, namely the Arab-Israeli conflict and avoiding issues of Arab-Arab differences or disputes National-national within a single state.

The series begins its first episode with a text that says that this story is inspired by the reality we live in with events and characters inspired by the author's imagination before events accelerate and reveal the story that revolves around the state organization (ISIS) and the attempts of the Egyptian intelligence to penetrate the organization.

The new series revolves around a phenomenon that began years ago and continues with us until now, which is the huge shift in Arab production from historical and religious drama to police and political drama, specifically dealing with issues of violence and terrorism. It often amounts to direct rhetoric.

In the same way, the series "The Choice 3", which deals with a thorny political issue in Egypt during the rule of the late President Mohamed Morsi, which avoids the political aspect of the case and focuses on the security and intelligence aspects to a large extent, is written by Hani Sarhan and directed by Peter Mimi.

The main actors in the series, most of them belong to security agencies, such as the army officer, played by Ahmed El-Sakka, the police officer, played by Karim Abdel Aziz, and another officer, played by the actor Ahmed Ezz, in addition to the main story threads revolving in the corridors of the security services.

It is interesting that the series avoided saying that the story was inspired by real issues, such as the series “The Returnees” to writing in the series’s first announcement that it presents facts for the first time.

The series continued, revealing that it does not borrow real scenes from news channels only between 2012 and 2013, but rather shows video clips of Brotherhood leaders in closed meetings;

This is to confirm the direct political message that he wants to convey to the viewer.

The series "Btloo' al-Rouh" plays on the same security chord, and presents the story of women who live the experience of life inside ISIS, and their roles are played by Ilham Shaheen and Menna Shalaby, and it is written by Muhammad Hisham Obeeh and directed by Kamila Abu Zekry.

The exciting thing about this series is two things: the first is formal and related to production, as it breaks the rule of 30 episodes to be only 15 episodes, and it starts in the middle of Ramadan.

The second issue is related to the story, as it intersects with the series "The State", which was shown by the British Channel 4 in 2017, about the lives of British Muslim women inside ISIS, written and directed by Peter Kosmansky.

And the last series avoided all the traps of Islamophobia and stereotypes in dealing with this thorny issue and presented a very important human dramatic vision and plot, and revealed all the tragic aspects, so it will be difficult to compare it with “The Rise of the Soul” after its presentation.

Post-University National Drama

This police style of Arab soap operas represents a radical shift in Arab drama during the past decades, which began to focus on historical religious issues first and then historical and civilizational issues secondly, before we reach this style of police series.

Despite the presence of the political part represented in series such as “Raafat El-Hagan” “And Tears in Rude Eyes” and “The Fall in Beersheba”, it was a presence in the general national framework and dealt with comprehensive issues, namely the Arab-Israeli conflict, and avoiding issues of Arab-Arab disputes or differences National-national within a single state.

If this type of drama continues in this manner, there will be a reluctance of the masses, and it has already begun to some extent with the youth segments towards foreign platform series such as Netflix and others, or Turkish series.

The crisis in this type of production is manifested in several ways, including that it raises the ceiling of the audience's expectations year after year to see what is more exciting.

Real political and security issues are not repeated in such a way that they can be rich dramatic material based on facts.

For this reason, the series “The Choice 3” may rely on the leaked scenes to raise the rhythm of the episodes, as the original story was outdated and drunk during the past 10 years.

Also, the direct rhetorical language in many of these series, which often tends towards polarization and dehumanization of the other party in the scenario and dialogue, contradicts the dramatic construction that depends on the complexity and intertwining of human tendencies in the characters.

The financial and production focus on this type of drama deprives the viewer of the historical and religious drama that has played a major role during the past decades in shedding light on important historical periods, and re-embodied many values ​​on the screen.

Such as the series "Omar bin Abdul Aziz", "Omar", "Al-Hassan and Al-Hussein", "King Farouk", "The Palestinian Alienation" and others.

They are series that combined the strength of a professional dramatic construction, respect for historical facts, and the embodiment of many general religious and national values.

If this type of drama continues in this manner, two things will happen: the first is a mass reluctance, and it has already begun to some degree with the youth segments towards foreign platform series such as Netflix and others, or Turkish series.

The second is the entry of any other productive party to present a dramatic vision different from what is being presented, and thus we enter into the cycle of series and counter-series or the war of drama and narratives, which is not a healthy phenomenon because it does not come in a healthy climate of freedom of expression, but rather in a climate of polarization and animosity.