Rita Harb Explains the Unique Identity of Arabic Remakes of Turkish Dramas

Abu Dhabi, United Arab Emirates Aug 27, 2026 ALN: Fans of Turkish drama series can easily recognize their Arabic remakes: they share the same settings, storylines, and key scenes, recreated by a new cast speaking in a Levantine dialect and bringing local humour and social codes to the material.

Viewers have embraced shows such as 2019’s Arous Beirut, adapted from Bride of Istanbul, and Stiletto, released in 2022 and adapted from Stiletto Vendetta, turning both into major hits on MBC’s streaming platform Shahid. The success of these adaptations can be attributed to several factors, including the familiarity of the original narratives, the cultural resonance of the themes, and the appeal of the actors involved. The remakes often maintain the core essence of the original stories while infusing them with local cultural nuances, making them more relatable to Arab audiences.

MBC backed the model further in 2022 by signing a five-year agreement with two of Turkey’s largest production houses, Medyapim and Ay Yapim. This partnership signifies a strategic move to bolster the content available on their platforms and to capitalize on the growing popularity of Turkish dramas within the Arab world. The collaboration is expected to enhance the quality of productions, as these Turkish companies bring a wealth of experience and resources to the table, which can result in higher production values and more polished storytelling.

Among the productions that followed was 2023’s Al Khaen, adapted from Sadakatsiz, itself a Turkish version of the BBC drama Doctor Foster. The choice of source material reflects a trend where successful stories from various cultures are being reinterpreted to fit different societal contexts. By adapting a story that has already proven to resonate with audiences, producers can mitigate some of the risks associated with creating entirely original content. This approach allows for the preservation of compelling narratives while also providing an opportunity to explore local themes and issues.

The latest, Hob Aa Waraq, is a 90-episode remake of the Turkish romantic drama Sen Cal Kapımı that began streaming in June, with five episodes airing each week. This particular series has garnered attention not only for its romantic plotline but also for its production quality and the chemistry between the actors. The format of airing multiple episodes weekly is designed to keep viewers engaged and invested in the unfolding drama, a tactic that has proven effective in retaining audience interest in serialized storytelling.

The popularity of these remakes raises the question of where original Arabic drama fits. If Turkish and Arab stories draw on similar family and community values, why commission an adaptation rather than create an original? The answer lies in the complexities of content creation in the television industry. The adaptation process allows creators to leverage existing narratives that have already captured the attention of viewers, thus reducing the uncertainty that comes with launching new concepts. Additionally, adaptations can serve as a bridge for cross-cultural exchange, allowing audiences to experience stories from different perspectives while still feeling a sense of familiarity.

Moreover, the question of originality versus adaptation is not unique to the Arab-Turkish context; it is a global phenomenon. Many successful shows around the world are adaptations of existing works, whether they originate from literature, film, or other television series. The key lies in how the material is reinterpreted and presented to audiences. The challenge for producers is to strike a balance between honoring the original story and making it relevant to the new audience.

For Lebanese actress Rita Harb, part of the ensemble of Hob Aa Waraq, that notion ignores what changes during the adaptation. “All you are really looking for is a quality story to tell,” she tells The National. Harb's perspective highlights the importance of storytelling in any cultural context. The essence of a good narrative transcends geographical boundaries, and the ability to adapt and localize stories can lead to innovative interpretations that resonate deeply with viewers. Harb’s involvement in such projects underscores the collaborative nature of the entertainment industry, where artists from different backgrounds come together to create something that speaks to a shared human experience.

In conclusion, the trend of Arabic remakes of Turkish dramas reflects a broader cultural exchange and a strategic approach to content creation in the entertainment industry. As audiences continue to embrace these adaptations, it raises important discussions about originality, cultural representation, and the evolving landscape of television storytelling. The success of these remakes not only reinforces the popularity of Turkish dramas but also highlights the potential for diverse narratives to find new life through adaptation, ultimately enriching the television offerings available to viewers across the Arab world.