“Ramy” and the Difficulties of Self-Examination Under the White Gaze

Indonesia Berita Berita

“Ramy” and the Difficulties of Self-Examination Under the White Gaze
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The first season of “Ramy” exposes the kind of uncomfortable truths to which some Muslims are tempted to turn a blind eye, yasminealsayyad writes. Season 3 ups the ante.

When “Ramy” first débuted, in 2019, it was astonishingly fresh. The semi-autobiographical comedy, co-created by Ramy Youssef, an Egyptian American who plays himself, introduced us to a sweep of Muslim characters who felt real: Muslims who believed in God, but also in material things. Muslims who drank, had sex, lied to their parents, and felt guilty about it. Set in New Jersey, a state with one of the highest percentages of Muslims in the U.S.

Season 3, which premièred on September 30th, isn’t much cheerier—at least not until the very end. But it’s also the season with the clearest plotline and character development. At its worst, “Ramy” can feel like a disjointed sketch comedy—a vessel for Youssef’s humorous observations about urbane Muslim-immigrant culture. The third season, like its predecessors, sometimes relies on graceless provocations that never mature in a way that advances the story.

But even the most astute of these pop-cultural musings can feel somewhat familiar three seasons in, and so “Ramy” has made a clever decision to focus on character exploration this time around. As a result, we get some dark plotlines, such as when Ramy’s uncle Naseem , a closeted gay man, nearly loses his mind at the thought that he’d been outed by a younger man he’s been seeing, who turns out to be friends with Ramy’s sister Dena .

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