At a time when we praise the role of art as soft power day and night, Egyptian drama produces a high-cost series "Jafar Al-Omda." Director Mohamed Sami returns to his previous drama work by presenting a work written and directed by him. He introduces his usual combination of cartoon characters that only exist within his ideas, a continuous series of thuggery, displays of strength and seduction, and dazzling lighting used inappropriately; as well as molded decorations suitable for fairy tales.

Despite Mohamed Sami's insistence on being a writer, even though what he has presented so far confirms that he does not possess the basic elements of writing, there is no harm in using ideas and events that have been addressed in other works. With a little spice, it becomes a pre-prepared drama meal. The viewer, who has been raised over the years with such works, which of course have their audience, is influenced by all the low and fake values and ethics in them. The reason is the return of Mohamed Sami's dominance, who believes that his genius goes beyond directing, despite all its weaknesses, to writing as well. All of this was acceptable in previous periods, but now, as we face serious attempts to systematically and deliberately undermine Egyptian drama, presenting a series like "Jafar Al-Omda" becomes a crime. Those who presented it should be held accountable; or at least stop repeating statements about using the soft power of art.

The character of Jafar Al-Omda, coming from the creative planet of Mohamed Sami, full of creative magma and volcanoes that erupt daily in the events of his series, which never lack a fight or a quarrel, is heroically won by the brave hero, Mohamed Ramadan.

Far from the imaginary Sayyida Zeinab neighborhood in the series, which confirms that its director knows nothing about Sayyida Zeinab or even any popular neighborhood in Egypt, it is a postcard for the director of a molded neighborhood that has no connection to reality. Starting from its homes and shops to the characters living in it within the events of his illusory series.

It seems that Mohamed Sami is superficially influenced by the seduction presented by Naguib Mahfouz in "Al-Harafish" and the character of "Al-Sayed Abdel-Jawad" in the Trilogy, especially in the relationship between Jafar Al-Omda and the retired dancer, her alleged cabaret, which is a strange cabaret that is difficult to find an equivalent for, except in the director's imagination. Its customers are silent extras watching the plump dancer singing, and to add the atmosphere of a cabaret, there is no harm in dim red lighting, and the grace of creativity and innovation. The character "Jaafar Al-Umda," which is wrapped in a tattered understanding of Mohammed Sami's limited grasp of what Naguib Mahfouz presented for the concept of the "fetwa," confirms that even when he borrowed the idea of the fetwa, he approached the superficial aspects of the character and gave it ideas that lacked innovation and creativity. This was further emphasized by the performance of Mohammed Ramadan himself, who thought that the fetwa and the mustache, the chest opening, and the arrogant walk were all suitable for his physical constitution and voice tone, which made his pronunciation unintelligible. This indicates that, as usual, Mohammed Ramadan cannot be controlled by the director and does as he pleases.

While watching the propaganda of customary judgments taking place among the people of Sayyida Zainab, the rituals of the abaya, kissing the Quran, and the pompous recitation of Al-Fatihah and prayers for the Prophet, I wonder how this is consistent with the character of a loan shark who lends with usury. Thus, Mohammed Sami's model of the "fetwa" is entirely different from the definition of a just despot who seeks to apply the law of strength and justice according to his own equations, who plays the role of the wise man and arranges life in the neighborhood he rules so that everyone remains satisfied and indebted to his protection. This is why the arbitration stories carried out by Mohammed Ramadan, some of which were taken from popular tales such as the story of the dogs that would recognize those who lived with them, were a guaranteed way to fill and consume time in side stories that had no dramatic addition.

Jaafar Al-Umda, "Herculean" in his constitution and behavior, is married to four women and treats them like concubines. Although this detail has been presented before in more than one work, most notably "Al-Hajj Metwally" and "The Fourth Wife," both of which were criticized by the National Women's Council, the Council will not move now.

As for the side stories, they all serve to highlight the genius of Jaafar Al-Umda and revolve around him, including the story of his kidnapped son, whom the audience knew from the first scene as the young man who is friends with the dancer's daughter—a character so amorphous that it has no meaning for existence in the first place.

Mohammed Sami's characters remain airy and rootless in all his works, even his main protagonist's dramatic structure lacks logic and reason. Although human speech is a clear expression of one's inner depths, intellectual culture, and social standing, and all feelings and emotions are linked to actions and reactions in reality and events, Mohammed Sami exploited all techniques excessively in favor of the protagonist, making the characters cartoonish and manipulated by Jaafar Al-Umda as he pleased.

Finally, with all the contrived propaganda, Jaafar Al-Umda will join the list of the most-watched works, making the soft power merely ink on paper.