Mohamed Sami excels at reading the audience. He combines many seemingly incompatible stories but possesses the skill to make what is theoretically impossible fall under the umbrella of the popular logic that yearns to reconcile contradictions. With Sami, you will always discover that he bridges the gap between ice and fire, black and white, lawful and unlawful.

The people - I mean a large segment of them - prefer, and still do, the hot, fiery drama (the chaotic) with the furnace's heat. He gives them precisely what they expect and even more. We should not be condescending towards people's tastes because they have the means of communication, and they determine the general mood.

The commercial artistic work is not a derogatory attribute but merely a description. It means that you can identify your audience, decipher the desired code, and strive to present it through a box office star. The closest person to Mohamed Sami is Mohamed Ramadan.

The reverse is also true; Ramadan's dramatic experiences without Sami do not achieve the same popularity. Ramadan is a prime example of a popular star. If you remove him from the artistic work, you will not find the same public interest.

If we apply the scientific rule to the series, for example, you will find this massive number of scenes in which the actor performs alone (dramatic monologue). This is precisely one of the significant flaws in drama. If you consider the (frame), you will discover that everyone standing next to the actor waits for him to complete the scene, as if he is a singer on stage waiting for the chorus to finish performing the song.

Every actor with Sami, I imagine, counts the number of (dramatic monologues) they will perform, which will then become the talk of the town. He excels at selecting words, not caring if the character speaks only its vocabulary. The most important thing is that the words that become popular on the street after the scene ends and become the talk of (social media).

It is a combination in which I see the hand of the maker very apparent, but people, it seems, are not bothered by those details. They are just looking for what entertains them. For example, putting four beautiful women of different levels, all connected to one man.

Each of them waits their turn to reveal and go up to his room. Scenes like these undoubtedly anger women's associations and specialized women's councils, and I do not rule out that Sami will not leave this arc open. In the end, he will present one or more scenes confirming the mistake of marrying four wives.

We follow the last of his wives, Zeina, as she tries to encourage them to break free from that dominance, as if she is (Spartacus), the liberator of slaves. I do not rule out that she will submit to him as well, and then she will free herself and free them.

Sami gives each of them a unique character, like Mai Kassab and the theft disease she inherited from her mother, Menna Fadali, and her submission to the people of magic, including her mother. By the way, this is the first time I see her acting, and I am convinced by her.

This allows Sami to present parallel scenes for all characters from time to time, creating some attraction. He also has the character (SafSaf) Hala Sedki, who introduces the popular queen character with light-heartedness.

The drama is direct in its details, but it caters to the audience's taste and preferences. Sami also takes into account the moral rules that have become the most critical measure in the audience's engagement with artistic work.

It is not logical to overlook the success of an artistic work or deal condescendingly with people's tastes.

Life is not all about (fortune-telling with a coffee cup). There is also (Under the Tree, O Wahiba)!!