Teasing a brilliant tribute, Yalı Çapkını introduces 'Limbo'

Limbo: Exposé

5th and potentially former to final of the exposition lineup, Yalı Çapkını's 78 Bolum was a brief layout for a brilliant exposé. Faced with anted ultimatums, protagonists Seyran and Ferit walk a paradox-path within a limbo. The upcoming pushes them back up to what the anchor pulls them into; Reality.

"Several semiotics, symbols, dialogues, narratives and especially phenomenal characters like Memo(ry), Sinan (Strength) and Diyar (homeland) tease the possibility, none however let's the technique loose. A quality the scenarist hopefully continues to uphold until time for release, unlike S2. The release though, is a challenge we are sat to see Bonce master."

Expository, conflicting, and creative/production standpoints were raised on CURRENTLY STARRING: last week about Yali Capkini's season 3 and its prominent waves in the industry. Having the initial plot introduced, Bonce and her team now, move onto a plan for raising the curtains;

Masquerade of Equilibrium, An Illusion of The Self:

"A fake equilibrium performed for Seyran Sanli and Ferit Korhan in both sub created and adapted worlds - that manipulates the real threat (that is the loss of identity) as psychological achievement and maturity and survival - is to be revealed through antagonist exposition of the two characters."

Seyran's 'Sinan' and Ferit's 'Diyar' are two central (though foil) phenomenons in the season's placement. These characters represent nuclei to the protagonists' child ego states and their subconscious more than love interests. They are projections of Seyran and Ferit's fears and adaptations that perform a somewhat fake equilibrium for the two to believe in their importance and dependability. Sinan is Seyran's strength while Diyar Ferit's sense of belonging. A theme discussed in symbolism last week — See Yalı Çapkını Season 3: Art or Industry?

We pick up from a shocking encounter at the hotel where Ferit has come with a ring, to commit to his illusion and Seyran with a specifically exposed target on her back, soon to be hit/betrayed (hence woken) by her's. 'Mystery Uncover', a semiotic reference in room 3160 speaks a hidden realm between fictitious and real indentity decorated with circles of 'cosmos'. Whereas room 3161 hangs a rather sharp, geometric artwork behind Seyran. Continuously overshadowing masculine, sharp, aggressive manifestations. Ferit Korhan is losing his reality in a chase for belonging right after Seyran Sanli has for staged strength, in ignorance. Sanli however is playing right at the edge of betrayal (awareness) now.

As Sinan slips his mask of the 'Everything she ever wanted' confidant, in desperation and frustration induced by Seyran's strings to her past - and Diyar suffocates Ferit with possessive ultimatums in her's; Seyran and Ferit are warned of danger one threat after another. Her self-constructed life, dependent on infinite strength, gradually exposes itself as an illusion and his safehouse that he thinks his forever homeland = 'only way to survive', puts up a price for staying (a way of luring him into the illusion deep). An interesting aspect about these characters is their portrayal of Seyran and Ferit's interpretations of their identities. Sinan plays a clear picture of Seyran's strength and resilience which is ready to do anything to prove its worth to a world where she was (is) considered weak. Sexual demands, for example, represent Ferit's (as a primary male) condition of the same in season 1, to prove her eagerness and bravery in front of injustice. That which her subconscious maintains as a capability if brought to the extent. The same way Diyar plays a gradually clearing reflection of Ferit's attachment to his utter independence = loneliness, which is always his last resort when rejected by the ones he loves. Estrangement and dissociation from Seyran likewise an example is something that Diyar's 'condition for commitment' now represents for Ferit's go-to adaptation in season 1 (Cue. Fırtınadayım).

What the protagonists are made unaware of till yet is the fact that Sinan and Diyar only do what Seyran and Ferit's made-up perceptions of themselves operate them to do (through the subconscious). This is the reason the former both are extremely adaptive to all the latter's (primary's) personal conflicts, wants, and needs. — except for unison/each other which they think is either not deserved or not survivable. Hence why Sinan and Diyar are constantly bothered and insecure of Seyran and Ferit together. Mentions like 'Seyran was your home?' and 'Ferit somehow is everywhere' and Seyran and Ferit assuring otherwise, give away the fact that Seyran and Ferit (who are currently being pulled together by fate) are actually in constant argument with not Sinan and Diyar but their self-built manipulative selves that operate through their subconscious.

Anchor of Fate: The omnipotent totem

"...together they draw an anchor that pulls each of their souls home. An anchor that keeps Seyran and Ferit from drifting away in the storm. She bases a lotus speaking for purity/rebirth at the head of it, while he gives it a red source of balance, in her memory. Ferit drawing the crown that nails the anchor grounded as Seyran creates the head and stock in the form of rebirth and purity is a cherry on top."

Fate was realized as the ultimate narrative last week in the story. Where an anchor that Ferit and Seyran draw plays symbol to their unison in fate. Pulling them grounded to love, from the foreign waters they swim ignorantly in. An anchor into their reality. This anchor seemingly and now prominently has the two protagonists searching for meaning in their standpoints. The consciousness tries to adapt to the projection by memory. That memory being familiarity and love for Seyran and Ferit, they continuously fight within themselves to embrace or not to embrace their presence in each other's lives. 'Seyran telling Ferit not to marry Diyar in spite of her estrangement, then later apologizing for it', Ferit wanting to not hurt Seyran as well as lose seeing her, then later choosing to push her away' — responsibility towards one another — and then 'both longing for each other privately and struggling to hold onto their projected realities' — love that refuses to be forgotten — are all pointers towards the same fight that their subconscious perpetually fights within a foreign surrounding. Ferit pausing 'the game' (later projected as 'GAME OVER' - a semiotic for every time a harmful decision is made) to take breathers out The perspective (the view from the terrace) and both repeatedly looking towards the sky/ceiling in a frame that is positioned lower to the eye has the characters wanting out - needy of guidance. This constant endeavor of the consciousness to make itself credible in the masquerading equilibrium and simply make the self-aware of the projection is what the anchor operates as. A totem that pulls to warn.

Ultimatum: A choice at the edge of Limbo

"...Whereas the late projected Seyran and Ferit's life events and consciences activated and ever shadowed by generational trauma; season 3 presents the two apotheosized of it. Instead we watch them derive (since-)matured lifestyles through personal choices, customized to their opinion."

The narrative in season 3 boasts the protagonists as individuals deriving lifestyles that are raw of any interventions - from anyone or anything other than fate: the anchor (hence love). It is almost a world clear of the 'Tyrant's' dominance (Kazim Sanli and Halis Korhan) or his presence at all. Here, the primaries have the benefit of choice over destiny. They can mold their lives however want. Fate, (which is) actually a warning to realize the lie of what's being masqueraded as a perfect equilibrial stance, teases them as an obstacle in this power to choose — the ultimate decision however still authorizes them. Therefore after every pull from the anchor (into reality) comes a push towards the edge (unto projection). This push appears as an ultimatum after every slip into hope. The deliverer? One's 'Diyar' and the other's 'Sinan'.

Following note references all scenes that these foils highlighted their unfair treatment and threat to abandon/harm in. 'Diyar's' establishment at the hotel, the atelier, Korhan mansion - and Sinan's at the Kantarji residence, then the atelier. All of these times mark either threats, manifestations of danger, or ultimatums for Ferit and Seyran. Seagulls reminding of a way out, while crows warning of the danger that awaits at the edge of limbo, an ultimatum lures Seyran and Ferit repeatedly until eventually deeper into abyss.

'Diyar' and 'Sinan' are carriers of a vacuum/chasm that manipulates and hypnotizes Seyran and Ferit into a false projection of reality. The hypnotic manipulation lies in the condition to not associate with each other and deny existence of the anchor to deserve staying in the lie. The lie which is valuable to them as a wished world. The condition is a price that they initially paid and so sha'll keep their loyalty to. "If want to stay in said paradise, you are to let go of reality completely. Imprints of the past eliminate". While Seyran is somewhat in the lead of awareness of the trap, Ferit's insecurity of his ability to protect his source of belonging (formerly Seyran) makes him liquid at the feet of choice. He slips between awareness and manipulation constantly. Seyran too is partially aware though trapped enough to give up if not secured by the ardour of the anchor. Saracoglu Seyran's impotence in the face of Sinan's exploitation and Demir plays Ferit's intimidated submission to Diyar's threats sensationally.

Slipping away: Choosing between 'paradise' and reality

Exposing the characters Sinan and Diyar as Seyran and Ferit them-'selves' changes the trajectory of their standpoints —

Ferit who interprets Diyar as his last resort after typical abandonment in his subconsciousness prioritizes her over Seyran as he did escaping to New York over her in S1. Diyar is a safehouse to Ferit. One that has accommodated him since childhood. Understanding, adaptive, and empathetic to all his decisions and consequences. Seyran. the only preventing force in his escape into himself, when abandons him; he owns Diyar as reality (takes that flight to New York). Returns to ground 0 (though changed). Diyar is the cosmos of loneliness inside Ferit. One that subconsciously he thinks his only loyal asset. A homeland. Equilibrium. Paradise.

Ahead of a homeland then, the marriage to Diyar is for him a chance to heal his guilt. When thrown the possibility of hurting her at an already insecure ability to protect, Ferit jumps at the possibility of saving Diyar from breaking and himself from consequent abandonment. His guilt, insecurity, and loneliness take the best of him when doesn't see a Seyran stopping him from leaving. Rather he interprets her estrangement as pushing him to do so. If now even she decides to stop him (reality), it's too late.

Seyran who accompanies Sinan as her last and only resort all along after typical unworthiness of love in her subconsciousness adapts to him rather than Ferit as she's done all her life in response to depriviation of love. With Ferit however, she deprives herself of love intentionally as not accustomed to feeling worthy of a love like his. She aims to protect his heart by letting it go before breaking it by death. and so then adapts to her forever companion, 'Sinan'. Sinan too like Diyar has been Seyran's harbor since the start of her conscious life. She's accustomed to finding survival in him when deprived of love and justice. It's only been her and Sinan since the start. And so she owns Sinan as her reality. Returns to ground 0 (though changed). Sinan is the cosmos of a lonely entity in Seyran. One that subconsciously she thinks her only loyal asset that gets left after all is sacrificed/taken. An essence of strength. Equilibrium. Paradise.

Ahead of strength then, the marriage to Sinan is Seyran's source of noise/torture to cancel out the melody of fate that plays through Istanbul. That that distracts her from her mission to let Ferit go and lures her towards a selfish (to her) decision. Owning her love. Seyran utilizes Sinan's wishes to be lone with him to her benefit of distraction from her fate that is Ferit, not caring for his ulterior motives to manipulate her of course. Her selfless love, escapism, and entity take the best of her when sees Ferit coping without her (with Diyar). Hence she interprets his survival as a sign to embrace Sinan eventually. When discovers Ferit still keeping her memory in his heart, she starts to see the paradise's illusion/trap gradually. Then starts wanting to hold onto her reality (that Ferit encourages as their harmony in drawing initially). Now however is too late.

The aspect that Bonce moves around here is the timely apotheotic discoveries of the two characters. Maintaining their deuteragonist natures, the discoveries and awareness do not come identically to the both. When Ferit has hope for returning to reality, Seyran has lost - and when Seyran has hope for holding onto reality, Ferit has already slipped into the illusion that Seyran tries to leave now. The consequences of each other's actions/choices, come to the other ignorantly and untimely. The only way out is choosing reality over projected 'paradise' at the right and same time. A portrayal of this paradox of choice is skillfully inserted into the episode where Seyran and Ferit stand faced waiting for elevators out The Hotel. Here Seyran's 'Sinan' and Ferit's 'Diyar' both dress a masquerading and manipulating white shade that projects their illusions as paradisiacal equilibriums — while Ferit and Seyran wear black to speak for the illusory void they are to walk into. The paradox exists in the variations on these skins. Seyran has (as she's mostly had this season) flower prints on the black that she wears. Conveyers of reality and life into foreign realms, these flowers imprint an apotheotic knowledge on Seyran (about 'Sinan'). Where then Ferit, ignorantly flaunts a jet-black dominance over his pure white reality to portray the extent of his mistook confidence in illusion (Diyar).

Falling into the lie: Choice made

The operator of Yali Capkini's story is at the least a by-the-book storyteller. The play we're witnessing here is a labyrinth in action. Themes of identity that were displayed in former episodes are mirrored in a master illusion, as the anticipated discovery of identity is flipped into a revelation of the primary explorer 'self' itself being a masquerade. Where Ferit and Seyran were supposed to find independence in separation for a healthy, equally dependant eventual bond through Sinan and Diyar as phenomenons from their subconscious— they're now exposed to be 'them' themselves. Bonce swiftly switches gears between future and past of the mind here. Drives the characters towards an independent future through a conflict and apotheosis, then pulls them back to be haunted by the actual self (child state) itself as the conflict.

The rules now change from finding the new self by reflecting on the old — to killing the old self within wholely in order to birth a new one. A plan that allows the protagonists to be cleansed of dominant trauma all together without the need to stray from fate (separation). The only trick but remains choice. Ferit and Seyran will see light as consequence of their interpretations of their 'selfs', that which is dependant on the nature of their final choice.

Bolum's last scene is a marker about a choice made for illusion and a pact made to death. While Ferit makes a choice between his reality and a chance to win his homeland, Seyran revives the pact with the illusion as punishment for breaking away from it (by the anchor). Both characters make the same choice, one however falls for an illusion, the other is pushed into it consequently.

Afra Saracoglu wears Seyran down to her skin as she dreams and withers right in front of Ferit's eyes. A captive's hope for a possible reality existing is shattered while another chooses 'paradise' over it. Drawing — a harmony she creates with Ferit, that inspired Seyran to look beyond her illusion; Reminded her, a hope of escaping the trap she's gradually starting to discover within Sinan. As Ferit bleeds out his heart to establish a stone in the face of her hopes, he chooses Diyar's illusion over a reality he's remembered but long given up on. To reach for where he hides rather than him directly, he tells her to accept him part of his loneliness now. The hopeful glimpse of reality blurs for Seyran almost instantly. No longer finding an anchor in Ferit, then whispered a command from 'Sinan', to prove her entity yet again; she lets herself flow into the deathly water. No longer trying to swim, no longer seeing the anchor, she feels indebted to her 'Sinan' typically. 'Sinan', whoever exploits her abandonment (self or by another), steals her in a moment of hopelessness.

Ferit and Seyran consensually fall into respective limbos. Ready to lose sight of any reality and familiarity at all as 'Diyar' and 'Sinan' suck them into abyss.

Manifestations on a Creative Heist.

Performing creative experiments on a plot adapted from a realized story has been an 'aura gain' for the OGM Pictures production since debut. Yali Capkini's art, music, film, and script crew have stayed powerhouse to Demir and Saracoglu's performances within this poignant yet grand narrative. The department that is ready to take it home this season though is the one that pens the story.

H. Zeynep Bonçe, with Ezgi Ozcan, Samed Aslan, and Semiha Ilktueren as script associates raises curtains on a brilliant tribute, if successful — this episode: Time jumping since hit off gave the writers a benefit of manipulation over not only the plot but the viewer. Projection of the story was orchestrated in a somewhat mind-bending way as to not let one believe the events in front but neither give away too much hope for the events being false. Escalated characters, fluctuating phenomenons, mysterious semiotics, planted audio, varied perceptions of time and particularly missing details from the past suspence-d the possibility of a projected world, not only to the characters but the viewer as well. While the protagonists justified their circumstances clearly, intentional loopholes were left in the portrayal to manifest on a self/sub-constructed realm. A manipulated plot that was carried through exposition now awaits reveal as the protagonists are pushed to the edge of a fight within one's self. A step further into abyss and a pull stronger by an anchor dominates eventual power over reality.

While we enjoyed the rush induced by climactic overshadowing and dialogue manifestations like Hattice's, disclaimer of "Our story is coming to its head" and Kazim's explanation of how rent is collected every 5th to 5th. A look into the story next week made a final invitation to the writer's grand reveal. In for either a mind-blowing unfold or a deathly, poignant shock, the Yali Capkini fandom throws a united call to the treasured characters from around the world calling; #HADIUYANSEYFER. The hashtag is anticipated to trend for welcoming the new episode this Friday, as viewers await a catalyst outbreak of breath and a loud waking from a prominently dying story. Hyping the ever-awaited cliffhanger since the start of the season.

Only tools the eye has to derive impact are those of interpretation, perception, and opinion. As we await a laud to the art presented by the Yali Capkini team this Friday, CURRENTLY STARRING: remember the characters Seyran and Ferit by a sweet memory shared between two captives that are soon to stand in the way of dominant destiny by winning within themselves, then for themselves and then each other.

We wish Yali Capkini all the best for deriving their story to either brilliance or doom this week.

CURRENTLY STARRING: Yali Capkini Season 3, Episode 78

Tuesday, 16th October, 2024

Released: Friday, 18th October, 2024

Production: OGM Pictures

Story: Dr Gulseren Budaicioglu

Scenario: H. Zeynep Bonce, Ezgi Ozcan, Samed Aslan, Semiha Ilktueren

Author: S.A.M

Editor: Iesaah M.W

Published by: TNBC Creators HUB, New York