At first glance, the spectrum of popular TV series screened during Ramadan appeared devoid of the blaring political discourse that gripped national media in the revolutionary atmosphere of January 2011 and June 2013.  But a closer examination of highly watched comedies and dramas reveals that viewers continue to identify with shows that present difficult political topics in the same ways Egyptians experience them in their daily lives.

At first glance, the spectrum of popular TV series screened during Ramadan appeared devoid of the blaring political discourse that gripped national media in the revolutionary atmosphere of January 2011 and June 2013.  But a closer examination of highly watched comedies and dramas reveals that viewers continue to identify with shows that present difficult political topics in the same ways Egyptians experience them in their daily lives.

One trend followed in the footsteps of the classic film ‘Return of a Citizen’ by Mohammad Khan, which explores the transformations Egypt experienced in the 1980s through the eyes of a returning émigré.

The concept was later replicated in works such as Ahmad Hilmy’s 2010 film ‘Asal Aswad’ (Black Honey), and reappeared on television last month, as local viewers watched actress Hind Sabri channel the experience of returning to a changed Egypt in a TV series called ‘Imbratoriat Meen’ (Whose Empire?). After living in London for 15 years, Sabri’s character Amira and her family are euphoric about their return to Egypt. But the romanticized image of Tahrir Square in the midst of revolution is soon replaced by realities on the ground.

The series demonstrated the many contradictions experienced by Egyptian society in the past three years, reminding viewers of harrowing events such as the Maspero massacre and the March 19 public referendum on a new Constitution while also focusing on characters whose religions and allegiances change with the political tide. The series garnered criticism from prominent cultural figures like Amar Mostafa, himself an opponent of the January Revolution.

Another TV series titled Sijn Elnisa (Women Prison) is set several years before the Revolution, and explore the moral abyss that led Egyptian society to the explosive of the situation in January 2011.  The main characters are victims of various social injustices, and welcome incarceration as a respite from the savagery outside prison walls.

‘Elsabaa Wasaya’ (The Seven Commandments) criticizes the failings of the post-revolution justice system by following a muddled police investigation of a fictitious murder, while ‘Alsayeda Eloula’ (The First Lady) shows how a narrow group of opportunists exploited the popular street protests for their own political gain. ‘Ibin Halal’ (The Good Guy), another drama series, highlights the controversy over the death of singer Layla Ghofran’s daughter and renews doubts that the man executed for her murder was not her real killer, suggesting instead the blame lay with the son of an influential official in Hosni Mubarak’s government.

Real-life politics has also inspired comedy shows like ‘el-Kebir Awi,’ whose protagonist, a heron arrested for spying (referring to a real case in which a pigeon had been found with a recording device), satirizes past regime paranoia and security crackdowns. Bushrat Kheir, an anthem sung in support of President Abdel Fattah el-Sisi during the last presidential elections makes several appearances in the comedy series. The heron is interviewed by a provocative presenter representing the contentious and daring journalist Riham Said.

In ‘Viva Atata,’ actor Mohammed Sa’ad character ‘el-Lembi’ time travels through different historical periods in search of a lost family treasure. The result is a hilarious re-reading of the contradictory narratives imposed on various generations of Egyptians. This genre of satire has gained as impressive following on social networks, outperforming current TV shows that address weighty sociopolitical topics more directly. One such drama series, ‘al-Murafaa’ (The Hearing) which stars actor Mohammed Badie in the role of the Muslim Brotherhood’s Supreme Guide, met with a tepid response from audiences.