Ramez Jalal … Sadia as a style of laughter

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Arab television stations will not rest in their frantic search for everything that is exciting. How, if the current Ramadan season was par excellence, especially in times of quarantine and corona, which effectively means nailing for long times around television. Everything has changed for about two months, the world lives in terror and fear, and wants to find a safe harbor. However, Arab TV stations are not interested in this matter at all. Rather, all they are interested in is searching for scenes caught by these stations due to “excitement and suspense”, perhaps saving them from fierce competition with social media and alternative viewing platforms.Dumps programs decades ago were not merely “preemption” at the table, whether inside or outside the Ramadan season, but years ago, they turned into promotional marketing content, as MBC tries to rise to the throne of this type of programs and its uniqueness, after investing In the comedian, Ramez Jalal, seven years ago in her favor, working throughout the year to implement his dumps program with artists.

In recent years, Ramez Jalal has turned into a marketing tool, not without consumption. The unfortunate actor in cinema and drama has become an annual mobile “robot” with the hand of MBC. Comedy is akin to annoying clowning, as insulting guests (victims) is used as a basis for answering questions asked to guests. There is no ceiling for Ramiz Jalal’s insults against his guests, even if the prior agreement with the “victim” allows this. Victims of landfill programs sign a contract by the producing stations, to accept and deliver everything that happens on the stage or in the nature, and allow the mold to be displayed on the air in exchange for a sum of money agreed upon with the producing company.

Years ago, shouting and criticism rose toward this phenomenon or this type of program. Lebanese journalist, Tony Khalifa, carried the defense of the “victims” of these programs, and experts and doctors in psychology discussed the implications of what happened to the viewer or artist. Although he neglected the element of the artist’s prior knowledge of the mold, or circumvented this official condition, neither Khalifa nor other critics of this method of entertainment programs managed to stop it. On the contrary, the stations seem to want more of these pranks, with action being used to win the audience, and arouse public opinion following this type of program. This view applies exactly to the latest version of Ramez’s “crazy crazy official” dumps that Ramez reaches the point of torturing his guests.

The style goes far beyond insulting and degrading the guest, and he is a method of freedom and is tied to a deceptive electric chair. We see that Jalal is trying to electrocute his guest, the insults agent without justification, just for the word the guest says. A style closer to sadism, which opens the door to more questions about the feasibility of this type of entertainment in light of the general “horror” experienced by the world. Much of the criticism was directed to the support station primarily, as it sponsors this type of production and provides all facilities for it.

A style that denotes only the absence of recreational ideas, and a repetition of the same landfills that occur every year, which take from Sadia its only style.



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