Abstract

Every Ramadan, when Egyptian TV shows enjoy their prime season, at least one series about Upper Egypt is produced and millions of viewers across the country get hooked on it. Those popular dramas usually include a southern hero who is a good-hearted yet poor young man, and his reluctant turn to crime to stand up against corruption and oppression. With romantic depictions of dark and handsome outlaws, the protagonists of these shows always win the deep sympathy of their fans as they rebel against unfortunate conditions and resist local officials, rich elites, and/or corrupt police officers. One of the most iconic and memorable shows, which came out in 1992, was titled Dhiʾab al-Jabal (Wolves of the Mountain, Fig. 1). It narrated the story of Badri, a young man from Qena province, who faced police injustice and escaped to the mountains on the west bank of the Nile River to hide, and then joined a gang of bandits. The honest and kind mountain fugitives aided him until he proved his innocence, reunited with his lost sister, and married his sweetheart. For many viewers across the country, Badri and other lawless idols embody the only glimpse of resistance they experience in their repressed lives—albeit virtually on a TV screen.

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