Successes in Moroccan drama, distinguished acting, and brilliant heroes in their roles

A number of Moroccan artists have achieved remarkable success in television series, both locally and regionally. Some of these artists have achieved international acclaim with their work, while others have achieved significant popular success with their Moroccan productions.

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Examples of Moroccan artists' successes in TV series At the local level Popular successes: There are several Moroccan series that achieved high viewership rates during Ramadan, demonstrating the popularity of Moroccan drama. Series that have achieved widespread popularity on digital platforms: Some Moroccan series, such as "Kaninati," have achieved great success and have been broadcast on digital platforms after being shown on TV channels.

Series dubbed into other dialects: There is a trend toward translating and dubbing some Moroccan series into other Arabic dialects, such as dubbing into the Syrian dialect, which could open new horizons for Moroccan productions, as Hespress reported.

At the Arab and international levels Artists who have participated in Arab productions: There are a number of Moroccan artists who have participated in joint Arab series and achieved success through them. Artists who have reached international fame: Some Moroccan artists, such as Emmanuel Chriqui, have achieved international success with their work in film and television. Artists who have achieved widespread popularity through their work: There are Moroccan artists who have achieved widespread popularity through their work throughout the Arab world and the world, such as Saad Lamjarred through his music videos.

Examples of prominent Moroccan artists Mohammed Miftah A Moroccan actor who participated in many Moroccan and Arab dramas, achieving great success.

Yassin Ahjami A Moroccan actor who participated in many Moroccan and Arab dramas, achieving great success.

Amin Al-Naji A Moroccan actor known for his complex and distinctive roles.

Emmanuel Chriqui A Moroccan actress who has achieved international success with her work in Hollywood.

Saad Lamjarred A Moroccan singer and songwriter who achieved widespread popularity with his music videos.

Reactions to Moroccan television productions vary, with some offering a mix of brilliant works and others that fell short of expectations. Despite the notable development in visual and directing vision, the script crisis remains a significant challenge, affecting the quality of many productions.

Hassan El Fad distinguished himself this year by moving away from television and relying on YouTube as the primary platform for his comedy routines. He reimagined the character of "Kabour" in new contexts, combining situational comedy and parody to address social issues in a satirical manner. He once again appears to have succeeded in attracting audiences and generating positive engagement, whether on stage or via digital platforms.

In contrast, television comedy has not enjoyed the same acceptance, with productions aired on Channels 1 and 2 coming under fire on social media for what was described as "underestimating the viewer's intelligence," despite the channels continuing to defend them, claiming they achieve "high viewership ratings."

scenario crisis Despite the progress Moroccan drama has made in terms of visual quality and the increasing number of productions, a writing crisis continues to plague it. Most works suffer from weak character development and a lack of psychological and social backgrounds to justify their actions, leading to illogical events that develop haphazardly, along with excessive stretching, which weakens the plot and deprives the work of its dramatic momentum.

Amidst Ramadan productions of similar caliber, the MBC 5 series "Rahma" stands out as one of the most distinguished. This is due to the skillful direction of Mohamed Ali Al Majboud, who relied on a variety of filming locations in Rabat, which gave the series a sense of realism and vitality. He also attempted to compensate for the weak script by relying on the performances of talented actors, most notably Mona Fettou and Abdullah Didan, who performed their roles with skill and professionalism.

The series addresses the issue of domestic violence against women. The story revolves around a husband who rejects his disabled child, holding his wife responsible, and subjecting her to various forms of psychological and physical violence, eventually leading to her being framed for adultery, which leads to her imprisonment, while he continues his life married to another woman.

"Shared Blood" controversy The TV series "Al Dam Al Mashrouk," airing on Channel 2, sparked widespread controversy due to its plot similarities to Egyptian Upper Egyptian series. This controversy was further heightened by the discovery that the scriptwriter, Hajar Ismail, is an Egyptian living in Morocco, reinforcing the notion that Egyptian dramas are influenced by them. However, despite the widespread criticism, the theme of family revenge is not unique to Upper Egyptian dramas and has been addressed in several international productions.

Beyond this controversy, the series suffers from a slow progression of events, with most scenes taking place in two main settings: two adjacent houses and a livestock market, rendering the narrative repetitive and monotonous. However, some actors, such as Sandia Taj El-Din and Maryam Al-Zaimi, strive to deliver solid performances that save the series from dramatic stagnation.

"Eastern and Western"... repetition without renewal The duo Samia Akriou and Noura Al-Sakali are back with the series "Al Sharqi wal Gharbi", where they wrote the script in addition to starring in it, while the direction was assigned to Shawqi Al-Aoufir, after Akriou directed their previous work, "Dar Nisa".

However, despite their successful history with Banaat Lalla Mannana, their subsequent works have failed to achieve the same resonance, due to weak writing and the absence of a central plot. The new series suffers from excessive stretching, with events appearing disjointed and dramatically unconnected, leaving viewers lost among the scenes without finding a strong connection between them.

The same problem recurs every drama season: productions typically extend to 30 episodes, stretching the plot in a way that weakens the dramatic structure. Perhaps if Moroccan series were limited to 15 episodes, the productions would be more condensed and of higher quality, helping to reduce narrative errors and achieve better plot cohesion.

The 2025 Ramadan season in Morocco witnessed a marked disparity between productions. On the one hand, Hassan El Fad succeeded in winning back audiences through YouTube, and Rahma distinguished herself with a strong directorial vision despite script flaws. Meanwhile, other productions fell into the trap of repetition, stretching, and weak dramatic construction. The biggest challenge facing Moroccan drama makers remains developing writing, revitalizing ideas, and finding a balance between artistic quality and engaging content.