Al Manasa drives new momentum in Iraq’s Ramadan TV production dramas

Iraq’s scripted television industry is experiencing notable growth, with telecom-backed OTT platform Al Manasa emerging as a key player in the sector’s development.

According to proprietary tracking from Co-Production Salon (CPS), Iraqi production prior to 2020 rarely exceeded five Ramadan titles annually, with most major commissions backed by MBC Iraq. Since the launch of domestic platforms such as 1001 and Al Manasa in 2023, Iraq has emerged as a consistent contributor within the broader Arabic Ramadan market, which now surpasses 200 scripted releases each season.

Two weeks into Ramadan 2026, early performance indicators suggest the strategy is gaining traction.

Al Manasa commissioned six Iraqi originals for the current season, strengthening its role as a primary enabler of domestic scripted production.

The platform’s Ramadan slate spans a range of genres and formats. Among the titles is Arsh Al Shaitan, a 30-episode psychological action thriller described as Iraq’s largest-scale production so far, with reported budgets ranging between $1m and $3m. Other titles include the horror sequel Al Aamma, a follow-up to the successful 2025 show Al Chena, along with romantic comedy Antar & Layla, social comedy Abjad Hawas, drama Al Maqam, and the comedy 9 Bihalal.

Early engagement data during the first 10 days of Ramadan indicates particularly strong traction for Al Aamma, Al Maqam and Arsh Al Shaitan.

The mix of 10-, 15-, and 30-episode series reflects a gradual shift away from the traditional 30-episode Ramadan format dominant across the Arab world. Platforms across MENA are increasingly experimenting with shorter-season storytelling aligned with evolving digital consumption patterns.

At the center of the slate, Arsh Al Shaitan, produced by Salek Group for Artistic Production, signals an escalation in Iraqi production value.

The increased investment in genre content follows the commercial success of last year’s horror series Al Chena, whose performance led to sequel commissioning. The move reflects early signs of franchise development within Iraq’s OTT market, a maturation step that positions local IP for lifecycle expansion before potential regional distribution.

While marketed as Al Manasa Originals with exclusive digital rights, several titles are also premiering on leading Iraqi free-to-air broadcasters including Al Sharqiya, Al Rabiaa and Dijla TV.

The approach reflects the Iraqi viewing landscape, where linear television continues to command significant share. Across high-population MENA markets with strong traditional TV penetration, free-to-air premieres frequently drive awareness, while streaming platforms capture catch-up consumption and sustained engagement during Ramadan’s concentrated viewing window.

Heba Korayem, Founder of Co-Production Salon, whose tracking monitors investment flows across the Arabic scripted sector, noted: “Advertising placements within Ramadan programming are now structured commercially across both linear and streaming platforms. This season, digital sponsorship packages tied to leading Iraqi drama titles have exceeded USD 100,000 per slot, signaling growing brand confidence in locally produced Iraqi originals.”

Beyond seasonal commissioning, Al Manasa is positioning itself as long-term production infrastructure within Iraq’s creative economy.

Almuheleb Shiya, CEO of Al Manasa, stated: “In 2025, Al Manasa was the largest commissioner of original scripted content in Iraq by volume, producing eight original drama series released throughout the year, in addition to five exclusive entertainment programs. Our objective is to move beyond seasonal output and establish a continuous original production cycle that strengthens Iraq’s creative industry.”

Other Iraqi producers and platforms participating in the Ramadan cycle, including 1001 — affiliated with top-rated broadcaster Al Sharqiya — are increasingly entering coordinated regional conversations.

Through CPS market tracking and cross-border matchmaking frameworks, Iraqi producers are expanding discussions beyond single-territory licensing toward multi-market positioning, platform sequencing strategies, and export-ready development pipelines.

Performance data suggests export potential is emerging. The multi-season Iraqi comedy Abjad Hawas generated approximately 30% of its demand from audiences outside Iraq, including Morocco, Egypt, Algeria and Saudi Arabia, according to Parrot Analytics.

The data points to growing regional appetite for Iraqi storytelling beyond its home market.

Within a commissioning cycle as commercially concentrated as Ramadan, Iraq is no longer operating at the margins of the Arabic scripted economy. Rising budgets, genre diversification and coordinated platform investment are repositioning the market as a scalable content contributor within MENA’s evolving OTT landscape.

Sources: www.broadcastprome.com