OSN looks to major investment in original content

(supplied)
Short Url
Updated 02 April 2021
Follow

OSN looks to major investment in original content

  • Orbit Showtime Network Streaming aims to have 40 percent of original content in 2021

DUBAI: Last year, Orbit Showtime Network (OSN) rebranded its streaming app Wavo to OSN Streaming with the aim of unifying its traditional and digital offering.

Within two months, content consumption on the app grew by an astounding 900 percent and the download of its apps increased by 1700 percent.

Last year, OSN also announced new original productions that are expected to further expand the streaming service. Arab News spoke to Rolla Karam, Interim Chief Content Officer at OSN, to better understand the growth of the service and its future plans.

The partnership with Disney+ last year was a major propeller for OSN Streaming, which already had partnerships with other major channels and studios including HBO, NBC Universal, Paramount and MGM.

“We have all the major studios on board and we have independent content providers from all over the world so it’s a fresh and unique proposition,” said Karam.

OSN Streaming also has exclusive content, originals, and first-run content, which is content that is exclusively aired on the service for at least a year before being aired on any other channels. “You won’t find it on any competitive platform or free TV, it’s only available on OSN for a minimum of a year,” she said.

The service has also focused on getting and airing content at the same time as it does in Western markets. For instance, new episodes of “New Amsterdam” were being made available on the platform the same minute as they were in the US.

OSN hadn’t really ventured into original content before May 2020, said Karam. However, within a year, 20 percent of its content is original productions with that number expected to go up to 40 percent this year.

This includes “A’adet Rigala” Season 3, the food reality show “Yalla Neta’asha” (Come Dine With Me), the Syrian war drama “No Man’s Land” and the Egyptian film “Curfew.”

In 2021, OSN plans to launch a Ramadan version for the next season of “Yalla Neta’asha” and is also working on two unscripted shows that will be announced soon, said Karam. The aim is to have one piece of original content every two months, if not every month, she said.

At the moment, original content is made to be relevant to the entire Middle East and North Africa (MENA) region. “Even though we speak different dialects, at the end of the day we are Arabs; we speak the same language and have the same traditions,” said Karam.

Despite OSN doubling its investment in original content this year, it is “challenging” to develop content especially for certain countries, not least because of COVID-related restrictions, said Karam. However, she remains hopeful that the company would be able to do so in 2022.

It does try to cater to needs of certain markets such as Morocco, for instance, by ensuring French subtitles as well as French content.

She also added that Egypt is a big market for OSN with Egyptian content performing well on the platform, along with Turkish content.

In March 2021, OSN launched a new channel called OSN Woman on both traditional TV and its streaming service. All the content on the channel is picked and curated by women at OSN.

In the future, said Karam, OSN hopes to produce original content for this channel. “We are hoping to produce content for OSN woman,” she said. “I am currently receiving some pitches from female talents in the region and I hope that we can announce by Q3-Q4 2021 some original content on that channel.”

OSN’s goal is to reach the entire spectrum of audiences through its content and traditional TV and streaming offering. “People are watching more TV and people are watching more on their own devices,” said Karam. That’s why OSN caters to both the “old and new generation.”

More and more people want to binge watch series, and not just Western TV shows. There’s a growing demand for Arabic, especially Turkish, TV shows.

There is a common perception that the period after Ramadan is a ‘dead’ period for TV production. However, that’s not the case for OSN, promised Karam, with new shows, including original ones, lined up from May all the way to the end of the year.

OSN Originals

Yalla Neta’asha

Four strangers each week take turns to each host a dinner party in their home, with the other guests rating the evening out of 10. The reality show is hosted by Egyptian comedian Khalid Mansour, bringing together participants from all over the MENA region.

No Man’s Land

Produced in partnership with Fremantle, this Syrian war drama in set in the Daesh and Kurdish camps of Syria in the aftermath of the Iraq war.

Curfew

The feature-length Egyptian film is directed by one of the stalwarts of Egyptian cinema, Amir Ramses. It premiered at the Cairo Film Festival in December.

Aa’det Regala

Three acclaimed Arab celebrities Qays Sheikh Najib, Nicolas Mouawad and Khaled Selim host one A-list female guest star per episode.

Kayd Majhool (Anonymous)

Psycho-thriller drama series Kayd Majhool debuted last month featuring Basel Khayat and Abdelmonem Amayri. The eight-episode thriller is directed by Alsadeer Masoud and written by Mohamed Abu Laban and Lewa’a Yazajy.


To infinity and beyond: Grendizer’s 50 years of inspiring Arabs

Updated 27 December 2025
Follow

To infinity and beyond: Grendizer’s 50 years of inspiring Arabs

  • ⁠ ⁠50 years after its creation, the Grendizer anime series continues to capture Arab imagination
  • ⁠ ⁠⁠Arab News Japan speaks to creator Go Nagai, Middle Eastern fans and retells the story behind the UFO Robot tasked with protecting our planet

LONDON: Few cultural imports have crossed borders as unexpectedly, or as powerfully, as Grendizer, the Japanese giant robot that half a century ago became a childhood hero across the Arab world, nowhere more so than in Saudi Arabia.

Created in Japan in the mid-1970s by manga artist Go Nagai, Grendizer was part of the “mecha” tradition of giant robots. The genre was shaped by Japan’s experience during the Second World War, and explored themes of invasion, resistance and loss through the medium of science fiction.

But while the series enjoyed moderate success in Japan, its true legacy was established thousands of kilometers away in the Middle East.

By the early 1980s, “Grendizer” had spread across the Middle East, inspiring fandoms in Saudi Arabia, Kuwait, Iraq and beyond. (Supplied)

The anime “UFO Robot Grendizer” arrived on television in the region in 1979, dubbed into Arabic and initially broadcast in Lebanon during the Lebanese civil war. The story it told of the heroic Duke Fleed, a displaced prince whose planet had been destroyed by alien invaders, struck a chord with children growing up amid regional conflict and occupation by Israel.

Its themes of defending one’s homeland, standing up to aggression and protecting the innocent were painfully relevant in the region, transforming the series from mere entertainment into a kind of emotional refuge.

Much of the show’s impact came from its successful Arabization. The powerful Arabic dubbing and emotionally charged voice-acting, especially by Lebanese actor Jihad El-Atrash as Duke Fleed, lent the show a moral gravity unmatched by other cartoons of the era.

While the series enjoyed moderate success in Japan, its true legacy was established thousands of kilometers away in the Middle East. (Supplied)

The theme song for the series, performed by Sami Clark, became an anthem that the Lebanese singer continued to perform at concerts and festivals right up until his death in 2022.

By the early 1980s, “Grendizer” had spread across the Middle East, inspiring fandoms in Saudi Arabia, Kuwait, Iraq and beyond. For many, it was not only their first exposure to anime, it also delivered lessons on values such as justice and honor.

Grendizer was so influential in the region that it became the subject of scholarly research, which in addition to recognizing the ways in which the plight of the show’s characters resonated with the audience in the Middle East, also linked the show’s popularity to generational memories of displacement, particularly the Palestinian Nakba.

By the early 1980s, “Grendizer” had spread across the Middle East, inspiring fandoms in Saudi Arabia, Kuwait, Iraq and beyond. (Supplied)

Half a century later, “Grendizer” remains culturally alive and relevant in the region. In Saudi Arabia, which embraced the original version of the show wholeheartedly, Manga Productions is now introducing a new generation of fans to a modernized version of the character, through a video game, The Feast of The Wolves, which is available in Arabic and eight other languages on platforms including PlayStation, Xbox and Nintendo Switch, and a new Arabic-language anime series, “Grendizer U,” which was broadcast last year.

Fifty years after the debut of the show, “Grendizer” is back — although to a generation of fans of the original series, their shelves still full of merchandise and memorabilia, it never really went away.

 

Grendizer at 50
The anime that conquered Arab hearts and minds
Enter
keywords