Alvin Toffler, the theorist of the “Third Wave”, believes that after the two agricultural and industrial revolutions, humans have now entered the third revolution; the electronic revolution. He says that the emergence of phenomena has caused chaos and the only way to escape it is to choose a strategy of knowledge against these phenomena.

Based on this, many media experts consider the internet, satellites, television networks, and social media as some of the current phenomena and refer to them as connecting and informative links. Of course, these days, internet television platforms or home networks should also be added to this collection, as their presence in homes is increasing due to the emergence of smart TVs, and they can be among the best entertainment and cultural infrastructures.

Of course, satellite, like any other new phenomenon, faced strong resistance upon its entry into Iran and in accordance with the prevailing criteria in society, which had been defined and redefined as “values” by the ruling authority. This resistance was seen from the society, especially from a religious perspective, as well as from the government with two different approaches, although there was more consensus. The Iranian society had previously experienced dealing with other phenomena such as video and even gaming consoles like Atari, but apparently it was not enough to learn a lesson. The political perspective of the ruling authority was dominant and the missing piece of the puzzle, as always. Absolute disregard for technology was seen as an enemy that had infiltrated homes and even permission was granted to enter homes to fight against this enemy, sometimes taking on a completely military form. However, technology was not meant to surrender to these attacks and, like all other modern phenomena, imposed its presence and existence, coinciding with the emergence of a flood of Persian-language

However, the result of launching satellite dishes from the rooftops of people’s homes led to an increase in coverage of this phenomenon among Iranian families, from these rooftops to the tents and nomadic camps. In fact, in 2014, the Ministry of Culture and Islamic Guidance announced that over seventy percent of the population had access to satellite coverage. The important point to note is that during the 1980s and 1990s, when satellite coverage was at its peak among Iranian families, the programs broadcasted by the state-run television, as the only official visual media with access to technology and maximum coverage, were of high quality and acceptable standards, and we witnessed the production of top-rated programs and series, as well as the emergence of new trends. This not only led to empty streets, but also transferred people from watching satellite TV to national television during prime time. If this support and continuation had continued, we would undoubtedly be witnessing even more exciting events and growth in this field today

Today, given the principle that media and satellites shape human perceptions of the world around them, we are forced to move along and keep up with this trend in order to not fall behind. We must also address the visual and auditory needs of the people and answer the many questions of the generations that have grown up and will grow up in this space. Otherwise, we will easily lose the competition to our political and cultural rivals. It is clear that the writer’s use of the plural pronoun refers to all the thoughts present in the geography of Iran and the governing laws. However, without a doubt, these laws can and should be subject to change and even elimination or addition in order to facilitate the flow. Therefore, in order to stay in the cultural competition and not lose to others, it is necessary to have experienced and professional programmers who are in line with what the people want and within the framework of customary and registered laws. This requires a well-documented program with a clear and accessible vision, as

In this path and in the absence of laws for private networks, the home network has stepped into the field to respond to the needs of a large part of the people, especially the generation that is familiar with the virtual space and has enough knowledge of cultural needs, customary frameworks, and awareness of current realities in society, rather than what is broadcasted by the national media. It has also supported Iranian cinema and filled the void in this space and brought it to life. With the expansion of coverage and the power of the internet in the 1990s, the home display network also grew and its impact became more apparent during the years of coronavirus restrictions in the online screening of films. However, what we are witnessing today is not support for the growth of these networks, which have become exactly the opposite and are now being led by the seemingly national media, but are actually nationalistic.

Today, we are facing a trend in this media that disregards all the experiences of the past 44 years in the cultural space, using names borrowed from the revolution and revolutionaries, and ignoring professional methods in this field, is spreading its wings in the art of performance in Iran. It started its work by removing stars from television screens and has now reached the point of imposing restrictions on home entertainment networks. What’s even more strange is that this media has become a competitor responsible for overseeing the work of other competitors. The circle of influence of this restrictive ideology has also reached the cinema, and we are witnessing stricter censorship measures. If this trend continues, we will undoubtedly witness events such as the migration of artists.

Art and its movement is not static and will continue on its own path. The only result of imposing more restrictions is falling into the hands of those who will undoubtedly not be sincere, and its control will no longer be in the hands of sincere Iranian and Islamic cultural enthusiasts. What has happened in the past years and has led people to follow satellite programs, is still a lurking danger in the overall cultural landscape, and is a direct attack on the essence of this art, and this will not be the end of it.