In the golden days of Tash, there were those who hated Tash, who hated blindness, and others who supported Tash, “my blindness.” Both parties did not look at the artistic and dramatic nature of the work, but rather the directions that Tash charts in some of its episodes. Tash was affiliated with enlightenment and fighting the culture of graves, witchcraft, woe and woe. During Tash's absence in the past ten years, the situation in the country settled in favor of the current that stood with Tash. The culture of graves, witchcraft, woe and grief vanished after the country embarked, with firmness and determination, on the path of progress.
I noticed that Tash Al-Awda faced widespread criticism on social media. Few critics wrote under their real names, the majority with pseudonyms. However, it is noticeable that a little effort was made to defend Tash al-Awda in addition to praising him. During the time of Tash's fame, we used to distinguish between Tash's supporters and opponents. People do not need to look into the quality of work per se. After an episode about the body, for example, voices start to wrestle over the topic of the episode. No one pays attention to the artistic value. Is what was stated in the episode true, or does Tash exaggerate the ugliness of the commission's actions to harm the brave recruits? Art had no value in the tensions between the two parties, so Tash proceeded and developed in the direction of social criticism and low-comedy comedy without the need for self-development as art. This led to a problem in front of Tash Al-Awda. Is the negative criticism that Tash Al-Awda received on his episodes purely constructive criticism of the face of art, or are the remnants of the people of the culture of graves, witchcraft, woe and grief still in their hearts filled with the bitterness of hiding and leaving the scene, so they waited for his return after they clothed themselves in new clothes. However, the truth is that many of the observations turned to the low level of quality, and this criticism was not used by Tash in its long golden history. Then there is no voice louder than the sound of battle.
At the same time, you sometimes feel that there are those who turned the matter around so that his criticism appears to be jealous of art, the country, and society. After the house was the only place for a woman and her kingdom that does not leave her, she has the right to work and earn a living, but not with this vulgarity that we see. What came in the previous phrase after (but) is part of the criticism that Tash al-Awda faced and what the events taking place in the country are facing. Often this (but) is followed by a question that drips with innocence: What is the benefit of singing concerts and spending on male and female singers? Isn’t it more beneficial to spend this money on renovating schools?
Most of the names that were defending Tash in the good old days either remained silent or dealt with Tash as a television work like any other work that should be viewed as an artistic work and not as a work of service or ideology. Tash enlightenment is no longer enlightenment. No one needs to defend an outdated tool.
Whoever watched Episode 19 (Shin B W) will see that our liberal brothers have given up on Tash. Although this episode is the best of the episodes presented by Tash Al-Awda in terms of drama and the performance of the actors, yet I rarely heard someone say a word of praise about it. Which means that criticism of services and opposition to currents has become available to everyone through social media, and art is no longer a place for it. Tash Al-Awda assures that the clock does not turn back. Perhaps what we witnessed this year from Tash was the last wave of farewell.
Abdullah bin Bakhit
