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Sharjah 24
03-05-2025
- Entertainment
- Sharjah 24
Broadcasters discuss balancing global ambitions during SAC
The session united diverse voices including Hiroki Tanaka, Chief Manager of Animation at Japan's Yomiuri Telecasting Corporation (YTV); Mohamed Salama, Head of Revenue Operations at MENA's beloved SpaceToon Go; Zümrüt Pakoy, Warner Bros Discovery's Programming Director for MENA; Arne Lohman, Executive Producer of German network ZDF; and Ali Syed, MBC's Head of Acquisitions. Balancing trends in content strategy The push to expand globally while honoring regional identity emerged as a central talking point, and Hiroki Tanaka highlighted Japan's shifting mindset, saying 'For decades, we focused on domestic audiences, and now with global demand for Japanese culture surging, we're rethinking strategies; like our new YTV Animation brand, which combines our storytelling heritage with co-productions for international markets.' Zümrüt Pakoy echoed this duality, advocating for a '360 approach' that pairs global IPs with hyper-local storytelling. 'We bring Looney Tunes to MENA, but we also platform heroes like Kral Şakir, Turkey's beloved hedgehog. Kids here want to see themselves on screen, not just imported characters.' Ali Syed chimed in, emphasising balancing legacy and innovation, stating 'As an Arabic network, trust is everything, and parents know we'll never compromise their values, whether the content is local or licensed.' How to stay ahead of audience demands With algorithms dictating viewing habits in this day and age, panelists revealed tactics to keep content fresh and relevant. Mohamed Salama shared how data drives localisation, saying 'Our dubbing departments adjust humor and cultural references in shows like My Hero Academia, and make sure the content is relatable and also appropriate. This isn't about censorship though, this is about connection.' Pakoy added that engagement now spans platforms, and it's important to have a presence in all mediums. 'Kids toggle between TV, YouTube, and TikTok, and we make sure we meet them everywhere.' For Arne Lohman, he claimed that quality trumps trends, saying 'Public broadcasters like ZDF aren't chasing clicks, we fund projects and collaborate with international studios to create IP that educates through artistry and animated excellence. Parents also trust us to prioritise safety and sensitivity over virality.' YouTube: Frenemy or friend? The panel unanimously reframed platforms like YouTube as a source of new and independent works, not necessarily as competition. Salama revealed part of SpaceToon's strategy saying 'We scout YouTube for indie creators and license their work for TV. It's a talent pipeline and a way to test concepts risk-free.' Lohman agreed: 'YouTube's a sandbox. When we find a concept, series or short we like, there's potential for us to adapt it into a full series. It's basically free R&D!' Collaboration: The good, the bad, and the equitable Partnerships were praised but came with caveats. Tanaka stressed equity, saying 'When we partner with Southeast Asian studios, revenue-sharing models ensure mutual benefit. It's not 'Japan leads, others follow' anymore.' Pakoy warned against tokenism, saying 'Co-development means letting local creators lead, one can't just insert or assign a culture within an existing IP, but at the same time it's important that we have representation across the board. It can be a sensitive and complex process, but we are here to make sure we are doing things right.' SAC 2025 runs until May 5th at Expo Centre Sharjah, and for more information and the full agenda, visit
The National
07-03-2025
- Entertainment
- The National
Ramadan TV 2025 review: Kuwaiti true crime series Wuhoosh tackles infamous incidents that rocked the Gulf
Despite its popularity globally, true crime is not a well-tread genre in the Gulf. Due to conservative cultural norms, most avoid discussing heinous crimes openly to spare the families of those involved from the public gaze. Wuhoosh a new series from Kuwait is attempting to push the envelope on this taboo subject this Ramadan. Translating to 'Beasts', the 10-episode series streaming on Shasha is directed by filmmakers Mohamed Salama from Egypt and Saeed El Marouk from Lebanon. The show stars some of the most talented and famous names in Kuwaiti television including Shujoun Al Hajri, Haya Abdel Salam, Faisal Al Omairi, Bashar Al Shatti, Ali Kakooli and Mansour Al Bloushi. Divided into four stories, two are told over two episodes while the other two are told in three episodes. All 10 episodes released on the first day of Ramadan, and the series has since sparked debate on social media between viewers who enjoyed its daring way of telling real-life stories and those who condemned it for using these traumatising events for a television drama. The first of the four stories is about a fire that ravaged a wedding tent in 2009 which took the lives of 57 people and severely injured 90. The arsonist that started the fire is the first wife of the groom, who was not in the tent at the time. Having grown apart, the groom falls in love with another women and marries her. Fuelled by jealousy and blind rage, the woman takes douses the outside of the tent with petrol and lights it on fire. In the ensuing panic, a stampede occurs inside the tent, with many being trampled over before being burnt to death. Investigations then lead to the arrest of the arsonist, before she is sentenced to death for her crime. Right from the start, the show establishes two crucial things with this first story. The first is that this is going to be a tough, perhaps excruciating watch for many. Seeing a person commit these crimes and witnessing the result and how it affects people will make many feel uneasy. The second thing it establishes is the quality of the filmmaking, acting and storytelling. There's very little glamour in these roles, whether portraying a criminal or a detective, the actors make sure to do it sincerely without belittling the event or the people affected. With all these stories being set at some point in the past 40 years, much attention and effort is put into getting the details of the time period right. From the cars to the clothes or even the locations, the result is very impressive. The second and third stories are both told in two episodes. The first is about a child abuser who abducted and assaulted 17 children before being caught in 2007 and hanged in 2013. The second is about a thief who in 1983 would ask for a ride home in front of banks before murdering the drivers and stealing their money. The fourth and final story is perhaps the hardest to watch. In 2002, a countrywide search began after a girl, 6, went missing. Days later, her body was found in a remote area, showing signs of being brutalised and tortured. The case truly rocked Kuwaiti society, with many hoping it would be solved as they started to live in fear from what is out there. After a thorough investigation, it was found that three men had abducted the child for what they claimed was an 'honour killing' to avenge an illegal relationship between the victim's brother, and the sister of two of the killers. With stories like these, there's no enjoyment to be taken outside of appreciating the effort and craft put into making it as good as it is. The stories have been told for generations either as cautionary tales or injected with saucier details to make it more scandalous. Presenting the facts in this way sets the record straight on many things, especially being crimes so notorious in society at this point. It is very refreshing that a Gulf drama would not hold back in its presentation, allowing the filmmakers to direct something that can be appreciated for its style while also giving the actors roles in which they can dive into and fully embody. One hopes that this is the start of a trend and not a flash in the pan.
