“The trade-off is not only ethical or economic,” added Andreaux. “It’s also about reliability, privacy and personal security.”

Abed Kataya, digital content manager at SMEX, a Beirut-based digital rights organization focused on internet policy in the Middle East and North Africa, says piracy in the region is less a form of culture than structural barriers.

“I see that piracy in MENA is not a cultural choice; rather, it has many layers,” Kataya told WIRED Middle East.

“First, when the internet spread throughout the region, like many other regions, people thought it was all free,” Kataya said. “This view is based on the nature of Web 1.0 and 2.0, and how the internet is presented to people.”

Today, he said, structural barriers still lead many users to illegal platforms. “Users started watching online on unofficial streaming platforms for many reasons: lack of local platforms, inability to pay, bypassing censorship and, of course, watching for free or at a lower price.”

Access to payment also remains an important factor. “Not to mention that many are unbanked, don’t have bank accounts, lack access to online payments, or don’t trust to pay with their cards and have a general trust in online payments,” Kataya added.

Also shared with Algerian students external hard drives loaded with the television series, while in Lebanon Streaming passwords are always shared in the whole household. In Egypt, major Telegram channels distribute content in various genres, including Korean dramas, classic Arab films and underground music.

“We grew up solving problems online,” says Mira. “When something gets in the way, you find a way around it. It’s … a basic human trait.”

Adjustment of Streaming Platforms

Andreaux said StarzPlay is trying to address some of the payment barriers that limit streaming adoption in the region. “StarzPlay recognized early on that payment friction was a regional barrier to adoption,” he said. “That’s why we’re investing in flexible subscription models and alternative payment methods, including telecom-led billing options that facilitate access to different markets.”

At the same time, international media companies are working together to fight piracy through Alliance for Creativity and Entertainment (ACE), a coalition of film studios, television networks and streaming platforms targeting the illegal distribution of films, television and sports content. Its members include global companies such as Netflix as well as regional players such as OSN Group, which operates the streaming service OSN+ across East and North Africa.
Kataya noted that legitimate streaming platforms are still expanding across the region. “The user base of the official streaming platform is growing in the region,” he said. “For example, Shahid, the Saudi platform, is expanding and Netflix has dedicated packages for the region.”

“Other players, such as StarzPlay and local platforms in Egypt, are also looking for their place,” added Kataya. “Social media also plays a big role, especially when a film is widely discussed or controversial.”

Piracy carries legal and security risks, Andreaux said. “Instead of ‘free streaming’, piracy exposes consumers to malware and insecure payment channels,” he said. “It also undermines investment in local content by depriving creators of income and reducing jobs.”

But the structural barriers described by users across the region remain. For many viewers in North Africa and the Levant, the challenge isn’t choosing between piracy and legality—it’s whether legitimate access exists.