Reactions to the seventh part of the series "Big Oi" - whether on social media or in newspaper articles - revealed two main phenomena, the first of which is the confusion between the dramatic character and the actor himself. The other is that some drama producers use social media to demolish works in favor of others.

The widespread reverberations of the reactions to Big Oi highlighted an "almost impossible" shift in taste in the public within a year. This impact was evident in the recent confusion about the role of "Marbouha" presented by actress Rahma Ahmed, and the demand for the return of Donia Samir Ghanem to play the role of Hadiya, the wife of the elder.

Despite the praise Rahma Ahmed received in the sixth season, which was shown last Ramadan, she was surprised - along with a large segment of the audience - by an attack that seemed to have been prepared in advance after the first episodes of the seventh part were shown, although Rahma Ahmed's performance in the new part did not differ much from the previous part, and all that happened was the clear increase in the number of her scenes.

The "Big Oi" is one of the most successful Egyptian comedy series in recent years, and the seventh part of it is presented on 4 satellite channels, and it is directed by Ahmed El-Gendy and written by Mustafa Saqr and Mohamed Ezz El-Din, and its events take place in the context in which the previous six parts took place in an imagined village in Upper Egypt called "Mazarita", where the great dreams of remarriage due to his distress with the stupidity of his wife Marboha, and imagines that he married the dancer Lordiana, while his twin brother decides - who grew up in America and returned to Mazarita - Setting up a project in the small village and settling on the creation of a "sports club". Although the work is still in its first episodes, there are positive and negative features that appeared in the presentation.

Traditional and "Bilad Bara"

Ahmed Makki and the team of authors play from the beginning on the paradox that arises as a result of the sudden clash between the modern hadith in its modern sense, whether in machines or lifestyle with the traditional, starting with the Upper Egyptian dialect - which uses the letter "dal" instead of "gym" - to the establishment of a sports club (GYM) in a village that does not have a similar in its children's dictionary and in their daily life programs.

The irony widens in comparing the style of a struggling orphan woman such as "Marbouha" with a belly dancing woman such as Lordiana, who knows how to kidnap a man, and even the doctor Jamila, played by the Lebanese Nour, and the authors have exploited the great difference between the two women in the manufacture of harsh and miserable laughter in the cases of Lourdiana and Noor of Lebanon, on the poor woman Marbouha, who screamed when she saw Lordiana in a wedding dress with her husband, "Ya Bakhtak", and then called for "fair competition", that is, for her husband to marry From a woman who can compete with her not Lordiana who can not compete with her.

Ahmed Mekki and the authors of "Big Oy" have never claimed to be debating serious issues or aiming to make anything but make the masses laugh. And laughter in the series "Big Oi" in general is not similar to laughter in films such as "Lambi" or others, the viewer will not lie on his nape or reach the brink of fainting, but will smile and come out of it a loud laugh from time to time.

Each work has its own logic, so it is important to emphasize that Makki and his companions presented a fantasy work, and did not provide a work consistent with the normal life of the citizen, there is no child in the body of a young man like "Al-Atra" the son of the great in ordinary life, and certainly there is no doctor with a "diploma of industry" like Dr. Rabie, played by the artist Bayoumi Fouad, and of course Johnny did not present the second part of the film "Titanic" as mentioned in a previous part in the series.

The special logic of the work allowed the elder to have a wife coming from under a car she was repairing, and he was also allowed to travel and get his inheritance from his father in Turkey and return to restore his memory and sight after that.

Overlapping characters

The most important negative remarks that the work seemed to be made in a hurry, as the characters of Johnny and Hazalkoum overlapped, the first as it appeared in the previous parts accurate, ironic, serious, and few words, while the second is a lot of gossip and anecdotes, especially those that seem trivial, which is what the author fell into in the seventh part, as he pushed the tales on the tongue of Johnny in the absence of Hazalkoum, which gave the impression of a kind of lengthening, which in turn led to a sense of boredom as a result of the overlap of characters.

The author repeats the features of the character of Hazalkoum for the second time with the heavy shadow friend "Nafadi" embodied by Hatem Salah, who launches his trivial tales in the same way, and lures the great to it as well, Johnny repeats an attempt to create his project, which was the restaurant "Koshary" before, while the great revolves around himself inside the "roundabout" in the first episodes, during which the great appears, who was presented as a strong, selfish and controlling person, and his personality has been shaken and he no longer has the same strength even if he retains the stock of selfishness.

The seventh part of "Big Oi" also sheds light on a real crisis in the work, whose audience has satisfied the slow dramatic rhythm in exchange for the gentle comedy that is largely suitable for the family, but the inability of the authors - including Ahmed Makki - to extend the lines on their straightness to push new dramatic blood and make some major events is the crisis that can make the seventh part the last part as well.

However, the series, which never claimed to adopt any slogans or discuss issues, succeeded in escaping the phenomenon of lies and dramatic fabrication, which is almost the most prevalent phenomenon in Egyptian drama.

"The Big Oi" is a satirical fantasy work whose makers dealt very seriously with the audience, so the audience exchanged that seriousness over the course of 7 seasons, and it is a model - despite its flaws in performance and drama - remains one of the few works that deserve to be followed, whether Donia Samir Ghanem returned to him as the wife of the great or not.