Yalı Çapkını Season 3: Art or Industry?

A pore over on the season's expository episodes and a prominent prime-time downfall.

The symbiotic marriage of art and capitalism has long been famous to the creative industries. Making art equal capital is what creativity or at that - skill is defined by, today. Some have found loopholes in the matrix and preserved art for what it was created after it's strained through capitalism, some have risked the purpose and ideology of art to achieve its standards; while some have abandoned passions, scarred by it. 

Taking on this same insecurity came Yali Capkini, an OGM Pictures production that would soon gather a multi-million viewership on the edge of their seats. Featuring the production after a year and a half, CURRENTLY STARRING discusses: creative stakes and a potentially final season. 

3 Sezon: The Despair, Redemption, and End to YÇ?

Yali Capkini Season 2 served grandly, as mid-point to Dr. Budayıcıoğlu's story. The tale's main catalyst - The protagonists' clearly realized love for each other and the extent of it by the end of season 1 - pushes them to a point of no return by the first quarter of 2. We also see the circle of conflicts getting tighter on them, as they are faced with constant challenges to prove love and loyalty even stronger. New subplots, progressing conflicts, and several pinch points were served; Eventually bringing about a mid-point where antagonist capability revealed extent. All stakes raised, all curtains dropped. The protagonists were brought to a state of no redemption psychologically. A breaking point was intended as well as awaited that would activate a grand despair at this point and so death - a most useful catalyst to the journey of self but even more to despair, in terms of the male protagonist - was introduced for the character Seyran. While season 2's ending did not compliment the overall intended structure, the attention was quickly shifted to Seyran and Ferit as an introductory peak into the next season. Hurried resolutions and shadowed redemptions were followed by The Catalyst to The Despair finally, where Ferit and Seyran had sacrificed their consciences to the extent of sacrificing/losing each other through death or mind. This season? The Despair takes lead and Redemption waits initiating.

Set up:

Yali Capkini boasts loud statements through gradually setting introductions every season. As the plot gets used to new sequences and characters, the theme sneakily wraps itself around the protagonists, every time about. Seasons 1 and 2, while one was catalyst, the other apotheotic - were both structured in accordance. 3 however seems to make the plot even more personal to the protagonists. 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 pilot opens with the female protagonist's internal monologue. Also, which marked the end of previous season. This specific monologue, while had potential for better strategy, isn't just any dialogue, but that that is to mark a major shift in the character's psychological standpoint soon right after.

"It is unknown when and what will happen and how it will surprise you. Life is created for all of us with its happiness and hardships, with its manifestation of unexpected miracles."

The dialogue while representing her gratitude to life, emphasizes for Seyran the discovery of love along the way. A love that makes her want to live. Further dedicating her wish to be happy and tributing all that was borne in the name of Ferit, Seyran falls devoid of the life she had newly just embraced with contentment.

What makes the scene note-worthy - other than Demir's delivery - is the one that follows;

Set up (Placement): A captive drowns... and escapes

Recent experiments with time shuffling in season 2 have noticeably not maintained the aimed rush and suspense to date and so when these intertitles flashed on screen this time, not much viewership expected a giddy ride. Two years have passed, the opening scene shows the female lead levitating deep underwater. What is about to be said marks not only a shift in the character's mental standpoint but end and beginning of the main and B-story monomythical circles. While this monumental plot point could easily have been overshadowed by hurried and exposed script-production inter-relations. It is one that stands crucial to character - viewer ones.

"You say you can't breathe without him, but you realize it was with him that you were suffocating."

A statement that harshly contradicts the one confessed in then last words. Accepting you want to live life because of a person and later realizing you haven't been able to because of that same person is not only an absurd shift in profile but a variance that makes the viewer break emotional connection almost instantly, for some. Character-viewer relatability or emotional connection has always been a wall, taken down (if at the right time) to bridge the viewer onto the character's new, developed standpoint (especially within time-skipping narratives). The same of which is expected for the male protagonist as well. What may have caused this shift however may just be the theme and statement of the season. Seyran's dialogue may hap to be the constructive force of the introduction - the visual composition though is the pivot of what causes shift and transition. The theme - while explicated through the Set up episodes carefully ahead - is directly and clearly exposed right in the first scene. Make-up for the time that has passed, the viewer gets compensated with a symbol summary to what might have happened/developed in the time that was jumped. We see the character in five stances: Underwater (may be interpreted as drowning or suffocating through dialogue), Realization of drowning/suffocation, Reflection (looking upwards), Attempt and Initiation (on breaking through the surface) and eventually Breaking through. The drowning; being all that was borne before facing death (suffocation may be pointing towards loving, which is the way to survive here, suffocating her because of the pressure of drowning, which is what surrounding conflict had brought it down to), Realization; which lets the conscience beware of the limit to trauma, Reflection; that faces the conscience with the self (demanding justification), Initiation (attempt of); where one is in the process of decision and trial to breakthrough, and then Breaking through; that is performed consciously.

Set up (Placement): The captive left to the storm... buoying away to survive

"Stories about two people never have a single narrator..."

Plot being zoomed in closely on protagonist identities, the Set up episodes introduce both narrations one by one and then in contrast. As E1(73) was based upon Seyran's perspective of her life, Ferit Korhan reads a page out of his in E2(74). We start at the intertitles again. But Ferit's perspective sources from the past unlike Seyran's, that narrates her present. We see the character in 3 stances in his version of the 'Catalyst to The Despair': Development (may be interpreted as snow and light precipitation), Maturing (Heavy rainfall and lightning), and eventual Dissipation (The passionate updraft is overcome by a demotivating downdraft, causing disappearance). Mert Ramazan plays Ferit vulnerably throughout the storm's rage. The Development being; as Suna initiates feeding a cumulus cloud of estrangement upwards, The Maturing; as she continues to feed thunderous demotivation and Ferit starts to fall heavily, and then The Dissipation; as Seyran's chance at happiness pushes the updraft of love and courage down and away. Bringing the sun up and the stormy sea away.

Set up (Statement): The anchor of fate says... 'Still you'

"Under the dreams falling into the water, I suddenly saw the bottom with my loneliness...Despite everything, Still you."

Last of the narratives is that of fate. Zeynep Bonce, lead scenarist this season raises the legacy catalyst of Yali Capkini that Baris had started the SeyFer story with. Both protagonists portray fresh themes and ideologies these three expository episodes. If not unique, Alptekin (director to the series) and Bonce, portray and Demir and Saracoglu (lead actors), project these in a way that is cool on the eyes and mind. We see Ferit and Seyran in multiple situations and conversations, gradually through E1-2 (74-75) and directly E3(76) onwards, that may be considered markers to the season's theme (/statement). A few to mention are; Expositions in E1 and 2, The conversations at the restaurant, house search and studio, Seyran's dream, Ferit's hallucination, and both's conversations with Sinan and Diyar. It is E3 however, that brings upon the ever-eventual statement from the ever-destined narrator; 'A whisper of The Opposite but Whole Soul', narrated by Fate. As Ferit describes the elegantly opposing colors of their souls, 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. A beautiful marker to SeyFer's theme this time around.

Season 3's three Set up episodes state handsomely, an introduction to the main theme through three ideal narratives. Escape to the future. Captivity in the past. and The dominant anchor of Fate.

Set up (Statement - Conflict): Love as Retraumatization

E4 (77) follows a consistent path of conflict statements after a swift journey through Seyran and Ferit's placements in the new plot. Where the atelier housed a core statement of dominant fate previously, the conflict to the statement is comely parallelized therein. A strict promise of 'Not again' contrasts fate's 'Still you', as the protagonists pull away from the brink of a feared erosion, interrupted by Memo(ry). What is feared, is the catalyst's raison d'être:

"I don't want to go to hell a second time"

Always seen but clearly stated in the falling phase of S2, Ferit's existence (love) amidst the storm, beside her, was the reason for Seyran's continuous resistance in a selfless trauma cycle. Ergo the exception/luxury Seyran sacrificed to be able to escape. This compromise and the new oath to prioritize satisfaction of the conscience over any and everything are consequently interdependent on the verge of interacting with Ferit. It is this fear of betraying the price that was paid, that drives her to constantly prove a nonchalance. The breeze of familiarity that blows through Instanbul threatens the promise to death. An intimidation of returning back to the broken state, Istanbul, the mansion, Korhans, the curse of kin. The old Seyran scares the heart that is pulled in towards home. Hence the character hurries to make irrational decisions (Proposing on the border of Instanbul, approving physical submission and consummation i.e.) as to run away from facing said 'threat'.

"While I thought I found life in you, was I actually destroying you?"

Picking up from "The boy who filled his soul into a doll" All Seyran and Suna's intentional estrangement did was aid and abet a catalyst strong enough to make Ferit Korhan give up through insecurity and fear of his self. His self was the principal all through. Dialogue in reference, is a dovetail contrast to the soliloquy delivered by Seyran Sanli right in the pilot's opening scene. "You say you can't breathe without him, but you realize it was with him that you were suffocating." The male protagonist asks the lines "While I thought I found life in you, was I actually destroying you?" as if in response to the statement. Much as Seyran would make him believe he is all she needs, Ferit would subconsciously be blaming himself for all that Seyran has been made go through. His failure to protect her first from his family and then from the enemy had prominently been played affecting the character by Mert Ramazan. The source. An insecurity deep buried in the deprivation of love received hence an underconfidence in love given. The same insecurity makes reasoning for - a helpless, calm and completely unlike Ferit Korhan - letting go. Constant vicarious traumatization through her, forming an underconfidence in the ability to love and protect, then witnessing her happy and 'alive at the least' else with proved to the Child ego state, the loss of a homeland. (The male protagonist's closest codependant characteristic recorded yet is a 'Fear of Abandonment').

Hence where Seyran fears love as retraumatization through circumstances, Ferit fears his love for her as vacarious traumatization. The character believes his existence in the other's life to be a trigger for that retraumatization. Therefore fears approaching or fighting for her anymore. After years of longing but developed maturity for Seyran's decision to escape, further interaction activates the fear right after the feeling of familiarity. He carries this fear into all other relationships he expects to hold onto instead as well (Gulgun, Diyar (phenomenon for homeland i.e.).

Both characters interpret the 'anchor' to be a negative force in their lives. While having formed a Stockholm-ic attachment to it (love), they still throw their legs in vain, to get themselves away from each other. What do not understand is that the anchor exists to teach to resist and swim rather than drown. (Themes)

Set up (Statement / B-Story - Conflict): A Masquerade of Equilibrium

Yali Capkini's protagonists are shown to be living in a masqueraded, fake equilibrium in a not-very-ordinary world. A rather allusive style of writing till yet, the adaptation habitually protects suspense and timely breakthroughs through foil characters. Being a generational trauma story, affecting - affected arcs are major contributors to the plot. This season the crew brings foils to the forefront of a bold but interesting B-story. Cem Söküt, Sinan while Pelin Akil plays Diyar jazzily.

Söküt, a close casting to the lead (ref also. Baran Bölükbasi and Melih Ozkaya as Tarik Ihsanli and Akin) plays a symbolic foil in Seyran Sanli's 'The New Seyran' moral-descending arc. A psychological phenomenon in the plot, Söküt's character Sinan masquerades a perfect confidant in the face of Seyran's desperation for catalytic independence/freedom. Gradually giving away certain 'ill' mannerisms, Sinan exposes himself to have formed a toxic obsession with achieving Ferit's position in Seyran's life. Studying and mirroring Seyran's prominent wishes of escape from the carefully stalked Korhan lifestyle, Sinan exploits an undisclosed sickness to manipulate Seyran into planting a strength pivot within his presence. Potential history of active IED and obsession are examples of the threat Seyran equips as 'strength'. The character is symbolized as Seyran's idea of strength and freedom, name directly translating to the same.

Diyar is worn by Pelin Akil as a matured woman who provides foil to Ferit's 'Fear of Abandonment' and desperation to belong. While not activated to an antagonist state yet, Diyar plays her part as a counter to Sinan's masquerade by destiny. A psychological phenomenon in the plot, Diyar directly translates to 'homeland'. A way of survival Ferit discovered while having returned to natural dissociation after Seyran's estrangement. Akil equips her character rather freshly as she obtains self-submitted control over Ferit's lifestyle. Struggling to cope with sudden although constant estrangement, Ferit Korhan submits himself to a foreign land as does Seyran to a made-up. This satisfaction however is temporary and false.

Like backing a gem with it to make it shine right and bright, a foil acts catalyst to the protagonists' apotheosis. Like Pelin Yilmaz (projected love interest to Ferit Korhan played by Buce Buse Kahraman) was in S1 through 2 to Korhan's eventual awareness of a codependent relationship and true love. Diyar and Sinan exist in current theme to bring about initiation to the final apotheotic journey. 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. Emphasized through Diyar's gradual turnover at the realization of Seyran's omnipotent presence and Seyran's backless and back-exposing wardrobe for Sinan to keep a clear target in sight to stab her in. As Seyran and Ferit gradually discover the irregularity of dependent strength and driven belonging in their supposed individual journeys, Sinan and Diyar exit the plot.

Character Standpoints:

Season 2 was a journal to all or most Yali Capkini characters one after the other. Whether 'twas witty cinematography or heart-grabbing scenarios. The season kept its honor as the midpoint for most part. The current, changes lens to seeking under life's circumstances and behind the self's conscious plane. For this, the story transitions tracks into Seyran and Ferit's consciences. As they play the protagonist captives as well as the cursed kin, one sees them experiencing and all those surrounding performing. Effects of these performances (trauma hits) have been visible throughout the plot in previous seasons, however, the experiencers were unaware of their captivity most period. By pushing them into practical, more developed, and certainly independent lifestyles - even apart - the writers now give them the choice to decide and be on the performing side of their journey themselves. A dainty detail to the aspect is the Bosphorus Bridge being shot from a much wider and clearer angle, since S2's falling action. Depicting a world other than the Yali's reach. Which was the source to all conflict and control initially. The aim seems to be: Zoom out world, Zoom in characters!

Character Standpoints: The New Seyran (Freedom)

Seyran is a character that although traumatized and suffered equally, has been portrayed wiser than Ferit. We've seen her influence Ferit as source to a Parent state, demotivate his (Adaptive) Child, and play his Wendy (ref. Peter Pan Syndrome) most of the time. Meanwhile however one would also notice how her subconscious has been influenced itself. S1.E29 onwards Seyran had started sourcing the characteristics that she herself had influenced Ferit against. These characteristics had been a part of the character always as the Child ego state but could and were being activated through constant trauma to the Id. Hence before we go on to read the character's current standpoint, we are aware of her psychological potential.

If comparing for contrast's sake, Ferit Korhan's trauma is majorly affected on the sub-conscious plane. His childhood trauma is the activation behind most of his identity and on the conscious plane, he experiences constant betrayal, abandonment, or belittlement. Seyran's trauma however was taken a notch higher in S2 when she was taken account from in the name of Hattice Sanli. The character's strength to maintain the Super Ego when opposed with psychological trauma was severed deeply with harrowing physical damage to her esteem and conscience. Which then got her vulnerable enough to professional help. The reason S2 is to be identified the midpoint is because Seyran's psychological standpoint takes base there. One watching certain markers from S2 followed by the minute expositions from S3 would immediately justify the character's viewpoint past the character-viewer dissociation.

"Do you love yourself?"

"Is there someone who takes care of you? Someone you feel comfortable, safe with."

"Ferit!"

-

"Have you been taking care of yourself?"

"..."

"Okay, do you love yourself the way you do your husband?"

"..."

EP 71 marked direct apotheosis for Seyran here. Let's even call it a twist that none would expect amidst the chaos that was still going on when these questions were asked.

Why? is the reason Yali Capkini is telling this story. The theme transforms itself from finding love amidst chaos to finding self within love as Seyran wonders the words to answer a question she's foreign to. No matter how much you love or be loved by someone. Is it enough to make up for the love you haven't allowed yourself? Can you dare to be loved by yourself? Are you honest enough with her? Have you been fair to her?

Death acts as a major activation for this exposition of apotheosis. As Seyran was steadfast on her identity as someone who loves Ferit and wants to achieve her dreams by constantly having to fight for them - Her (then) death comes upon as somewhat of a reminder or punishment for not daring to face herself despite confrontation (from the Dr). We see her continue with topics other than what she was asked at the psychologist's, continue hiding her fear and anxiousness until the end - and then still sacrificing her own love for Ferit's at the hospital while she's aware of death coming any moment. That's two times Seyran does not give in to death's proposal to stop surviving and fighting for the ones she loves...

Until;

death blesses her the gift of life itself. It is then that she realizes the true meaning of life: Her. We are yet to be shown the course of events during the last two years, though what changes without hiding is the trajectory and intention of Seyran's abandonment and estrangement towards Ferit. Where she had broken him away to not let him experience her dying; When allowed a new life to start with, she runs away from the 'Ship' altogether, given another chance to face her reflection that ridicules her out the sea. (Footnote: Unfortunately for her, Ferit is part of that sea - and she does not put him in front of her Self anymore)

To be clear, two of her 'open wounds' have been emphasized up until now which fuel up this new version of the character; The potentially influenced Id through a Parent ego state and the severed esteem (through conscious on subconscious abuse). These and the opportunity to escape (the sea) is what projects today; The New Seyran. Physical description already vouches for the escape since the character's first appearance on the season. Short hair, little to no makeup, dresses that are more revealing as well as lightweight and most prominently backless. All characteristics speak for cutting ties with the past, wanting to reveal the self beneath, and flaunting where the wounds were their deepest. Manipulated as the front of a love interest is also a phenomenon that exists in the self-created world for subconscious emotional and psychological fulfillment. The name Sinan itself translating to 'spear' or a symbol of strength/valor, Seyran derives from 'Sinan' everything she wasn't allowed or couldn't manage to have with Ferit amidst the chaos she escaped from. The pivot of her story: Strength (from which she sources her bravery and freedom) is what makes Sinan (who seeks emotional attachment and obsession himself but masquerades as 'strength') exist in this sub-creation. This apparent emotional support human also is aware of his reason to exist (evident from multiple conversations about being a temporary harbor and the dream sequence where Seyran's un-intentional drawing of Ferit is lucid enough to be visible to the person being used as the muse: him).

Several peak-holes into Seyran's obsession with living the life she was deprived of, make evident her hurry to do so. Promises made, dreams dreamt, plans made with Ferit that she was ripped of, she strives every day to make real. In this world, the sole goal is to satisfy and justify one's conscience. Something Seyran had neither thought nor cared about in the 'sea'. The only idea of life there was survival.

The counter to the conscience is the heart and soul though. It is what holds the power to destroy years-built castles of esteem with one breeze of familiarity. This breeze is a breeze that blows towards another too. (themes)

Character Standpoints: No hoof, no horse (Belonging)

As the other was in S1, Ferit is the main/prominent archetype in the S3 Setup. Most of his appearances before and the first time Seyran appears in front of him are portrayed laudably by actor Mert Ramazan Demir through eyes of the highest order of hopelessness and void-ness - as contrast to when she graces his vulnerability, where Demir manages to portray perfect and whole opposition.

'People believe, when they see hope. In your eyes, you know?

While his part in SeyFer remains protagonist, Ferit Korhan enters as somewhat of a deuteragonist into the season 3 Setup. This being, as Seyran Sanli's journey, is the one in exposition. Even in E2 where he holds perspective to the narrative, Ferit remains 'affected' while Seyran keeps 'affecting' in his life. The plot yet only publicizes Seyran's achievements in her sub-created world. Ferit seemingly has not gathered enough logic from what's happened to him, to realize focus on his conscience, hence his sub-created world is merely a pathway to survival rather than psychological achievement. Where she has him present on a subconscious plane (Fig 1)(running away from his memory), he has her on the conscious more prominently (Fig 2) (accepts her memory to survive her absence) - (Evident from hallucinatory sequences, 'Derinlerde' sequence and physical reactions to hearing or speaking about Seyran). The character is one that Seyran has left behind to the storm and barely keeps himself from drowning.

This is where the male protagonist's 'emotional aid' comes in. Ferit's source of subconscious emotional and psychological fulfillment is different but not at all that from Seyran's. Seyran seeks a harbor that she can embrace and breathe at. She does this as a consequence of escaping the sea. Ferit however stays at sea, amidst the storm. His fulfillment is not for satisfaction like Seyran, but survival. Emphasis on the topic is put when he calls Diyar his 'lifeboat'. One that he boards for the sake of 'not drowning' (emphasized through alcohol). 'Diyar', land, homeland: other than being Sinan's counter in Ferit's narrative is exposition to Ferit's own journey as well. Seyran's goals and her psychological needs are two different aspects of the character's standpoint. Ferit however has both the same. The character's goal as well as psychological need is 'Belonging'. Continued from the latter and introduced in the current season through a piquant choice of semiotic: The horse with no hoofs.

Horse with no hoofs (Semiotic object)

Mentioned object is one of many sustaining symbols and semiotics in Ferit Korhan's and then SeyFer's room. It seems to be absent only for a short period of time where Seyran convinces Ferit to some extent to have confidence in him as much as she does. Soon as Ferit loses that sight of himself though, is when the object appears again. Most direct features in shots are when Ferit fails to keep Seyran beside him. This season, the horse is placed in both Ferit's room and Diyar's apartment.

The semiotic directly references the saying 'No hoof, no horse', one that stands on belief that a horse is only as good as the legs he stands on. Otherwise is unable to hold the weight of his self.

Ferit seeks belonging as a platform to pile his emotional weight on. As Seyran seeks what she was deprived of, Ferit seeks what he was. Belonging. Hence the 'Seyran's Sinan (strength)' counter's name: Diyar (homeland). The reason Diyar may play catalyst to Ferit's journey's exposition is because, unlike Seyran, Ferit is yet to realize consciously what he was ripped of and has to build for himself within himself. Like Seyran was foreign to the Question: 'Do you love yourself? Ferit is to 'Do you belong within yourself?' Seyran realized and faced the self through greeting death. Does Ferit walk the same path? Or does he derive inspiration for healing, from Seyran, this time around too?

Themes:

A more metaphorical view; S1 explored the miraculous possibility of love as a flower that grows on a tree rotten to the core. Born to The Korhans (and Sanlis)' corrupted, tyrant ships in captivity; Ferit Korhan and Seyran Sanli bear the curse of kin into a forced marriage. A destiny plotted by the tyrants and a reality put together by fate leads the two protagonists to discover love - That, they register as a way to survive. Fighting their planted demurrals, prides, and prejudices, the two decide to allow themselves to fall in love. Only to find out survival too, won't come easy. And so the cycle of trying to escape, then falling to catastrophe begins.

Season 2 zooms in on the core in the past to Ferit and Seyran's present. If can't escape, they strive to heal the tree that rots everything that survives around it. Whilst testing and believing the strength of their own relationship coherently, the protagonists inspire the rotten branches of the tree to live again. The putrescence however refuses to leave its roots and damages and betrays the flowers' core. Making their hope and belief weaker and weaker. The story ends in tragedy.

Season 3 is the story of Seyran and Ferit - not Korhans, neither Korhan and Sanli - who are set to tell a tale of 'The captive flowers that withered because they loved' but on their terms. The story of the captives who were dictated a destiny was concluded in S2. S3 starts a new theme of 'Identity' as if a new perspective to the previous story. A narrative where Seyran and Ferit act not on destiny but choice and opinion.

Themes: Identity and The Self (Step 1)

Human being comes into the world alone and goes alone. The presence of someone when he comes and someone when he leaves is what makes living worth. The end, however, is a reflection of only self.

Identity is something that typically withers when one falls in love. The idea of love makes the conscience forget its vulnerable state and mate with the loved one's instead. Though if forgotten completely, identity either; masquerades itself as a right taken away by love (Eventually which turns love into a double-edged sword of pride and insecurity) or gradually disappears. Leaving one without both, the self and the loved. Soul-less.

Ferit and Seyran (similarly in love), although protagonists, play deuteragonists to one another in the story. What one initiates, inspires the other eventually and what one decides to end aids the other consequently. The aspect plays out the same negatively; Mistakes of one make the other pay on both psychological planes. The narrative today too, strung on from S2's falling phase presents them as protagonists that always taught and learned from each other, but never from self. Individual decisions that didn't include or concern the loved one and were faced from a sole perspective for personal stake were always either ignorant or negative. Even so, regretted.

Scenarist, H. Zeynep Bonce glides a selfish pen over SeyFer's selfless origins this season. The theme, while Gunger's (scenarist, S1-2) projected justification/redemption before unison in heart, preaches identity and concept of self before unison through soul; A practical take on love today.

Antagonist potential having reached a public peak, Seyran's triggered sense of identity is the first to prioritize justice for the self over love. As discussed through the character's standpoint, she strives in a sub-created world where her dreams and opinions rule over everything the old Seyran holds onto and more. Wearing an apotheotic ego state of caution, she appears to have achieved what she was starved of: Freedom. This freedom as per a masqueraded equilibrium though is only masked as it. Seyran is projected to be in a state of constant performance to prove freedom and a successful escape. What the character does not realize is, that there is no audience to her performance. 'You have to prove yourself to no one'. Somewhere along the line of realizing her dreams and proving them to a part of herself that was compromised while escaping, she seems to have started operating in spite. Directly proven through all her decisions being in spite of every situation she finds herself in (Signing a contract with Ferit after learning about Sinan's lie i.e.) Soon realizing she's paid a price too sacred for an escape that remains unfulfilled without what was sacrificed, Seyran now constantly strives to prove and flaunt her newly formed principles in the face of the world (indirectly herself), as protection. Bonce foreshadows a lesson to be learnt about the concept of self and how the Id (ego) manipulates it on the road of denial. Seyran is yet to realize her hurry and insensitivity in proving her freedom are to be in vain if not justified to the self. You are to face yourself while justifying what had been borne and satisfying your conscience, not the world.

The next to face such catalyst to identity is the male protagonist. Ferit, as observed in his standpoint is yet to achieve apotheosis of any manner in the aspect of the self. A fear of abandonment and desperation for belonging gives reasoning to this fact. His narrative is one constantly and entirely affected by that of Seyran's and is yet to be detached, therefore isolated enough to start an apotheotic arc. While Seyran begins but stutters on said path, Ferit does not yet see one. He realizes Seyran's intention to embrace her identity, appreciates it as the result of 1. his own insecurity of providing her enough love and protection and then 2. awareness of all that she has borne - and therefore accepts letting go for the sake of promised happiness (by Suna) but stays where Seyran had escaped from himself. While a near apotheosis seems promised for the character as well, we watch him only 'affected' and not 'affective' yet. Until he doesn't recognize the masquerade that is worn by the equilibrium he registers as his homeland and realize that belonging comes first from within and then from beyond (This includes Seyran), his breakthrough does not take acceleration.

Bonce promises a soul-bound unison for SeyFer that sources from their beliefs in the respective self. The two realized hope first, love then, trust after and so await identity now. Yali Capkini takes the story of survival through love a notch further by preaching a vital aspect of life and love, not too common in most projections today: The self.

Themes: Fate (Step 2)

"You are where you belong"

While multiple and continuous reminders of fate exist in the episodes. The following references and sequences may have to be the most directly communicated.

The terrace view is an aspect very pivotal to Seyran and Ferit’s relationship. It is symbolic of a perspective that allows them to breathe out their cage, that is the room, making it worth living in. A look out the cage reminds them of what’s at stake. The breath of fresh air gives hope for life in the cage to be beautiful and hence bearable if they are present in unison. A belief in survival, if together. Even when the two are apart, the specific visual speaks for their memory of that perspective. Therefore if they only remember the possibility of such perspective, then they have hope. And hope makes one believe. 

Current season brings out the highest point of maturity developed as well as the strongest of ignorance in the story’s protagonists. The trauma performed last season prominently affects both in different ways. Seyran, who was hit with even the last possible shots to her esteem operates through a cross-transactional ego state. Her ideology behind what she has been and is doing justifies through her experiences, but her obsession of it makes her ignorant of her inner self. So while she consciously creates The New Seyran for her sub-created world, the real has started disappearing in her subconscious. Cognately Ferit, who was denied belief in a love he recognized to save him on top of a family he expected to have loved him no matter their ignorance, strives in desperation for belonging anywhere he can claim it. A selfless superego that torches maturity over every situation but the self, has the character walking on a road leading nowhere. Keeping his conscience attached to a memory of the beloved under a masked nonchalance, he constantly loses his essence under it.

While Seyran turns to Sinan for a dose of strength and Ferit to Diyar for that of belonging, the reflective view from the terrace projects itself as a constant option behind them. Present but ignored. The pen exposes a secondary source conflict as well as teases the obvious and eventual solution from here on; Denial of love and Strength in it.

Seyran and Ferit are not portrayed to be loosely only in love but connected in trauma more strongly. The extent of experience passes that of love if compared. What the terrace view of the sea represents and is ignored for, is that relatability and belonging in each other.

The plot beckons several scenes where Ferit convinces Seyran to not let go of her real dreams when running in spite of her experiences. While contrasting scenes for Ferit are yet to be plotted through his initiation in said journey, these scenes stand catalysts to Seyran's (soon his) constant and irresistible memory of the view (How she keeps comparing Sinan's endeavors to paint her 'blue' to Ferit's belief in her 'red' is a pointer of the same nature.) The breeze that they used to mesmerizingly appreciate at the terrace even blows through wherever they are or whenever Seyran thinks of Ferit's words. A direction that sunders to the smallest symbolic detail, Alptekin. When running astray, each other is who has the power to keep them grounded to the essence of what they truly are. The terrace symbol's calling and love's existence as an anchor reminds them of the homeland (Diyar) that Ferit, and strength (Sinan) Seyran find in foreign, dangerous waters. Although thought to be drowning them, the anchor, in reality, pulls them down to teach them to survive and swim, rather than struggling to escape and ending up in what only masquerades as a harbor - or lifeboat at that.

Identity operates as theme to Season 3. Love through undeniable fate comes second, but stays eventual. Seyran's compromise of Ferit for the sake of escape and Ferit's compromise of Seyran for the sake of her happiness and his fear/insecurity is to be proven wrong by fate eventually. The separation is to be justified as means to a journey of the central theme and just that. The view from the terrace is to compel the captives towards it no matter their resistance. The anchor pulls them in no matter the distance. Finding the self first however remains the only condition.

The theme of fate in current plot portrays how both have the perspective of unison and therefore survival right behind them but are ignorant of it because remember love but do not remember hope. The Setup episodes of season 3 gradually move them towards the solution that is unison and survival. Ferit's inertia but, in his individuality stands in the way of said solution. As said before, discovery of the self remains the condition to find the way back home. Until the journey towards self does not initiate in the protagonist, the hope for the both reaching for each other is groundless. Even if one reaches for the other before either has faced the self, both fall back into catastrophe unless reject such approachment. Ferit has to find belonging in no one but himself and Seyran is to derive strength through none other than her's to deserve the perspective of unison they recognize home. Dishonored multiple times through separation and re-initiation, the perspective, as well as anchor, is to represent their marriage that is to be honored for a final time this time. The condition: Find belonging and strength in the self, and eventually find it in each other. Fate drives the story once identity is successfully justified.

Themes: Hallucinatory and Subconscious Revelations

The aspect to be discussed here is one of the brilliant equipments brought to the script this season. A manipulative plot at its best, the theme reactivates Yali Capkini's ability to compel.

A far throw at warping or a successful one at manipulation, Bonce and her team raise constructive conversations with a potential theme of 'Twas all a dream'. Subconscious revelations have historically been a common and interesting way of finding the self through hallucinatory or oneirological scenarios. One in question, realizes the stakes and manipulations in their life through living scenarios that induce either threatening or inspiring outcomes, in a dream or more conscious hallucination - providing them wisdom and grand apotheosis in the real world. Seyran and Ferit are presented amidst an environment that plays with the possibility of the theme existing. Cutting the season off and picking it up from a time jump gives writers the benefit of manipulation and therefore ability to keep said plot relevant as the viewer stays ignorant of the events from the 2 years that were jumped (or were they?)

Several semiotics, symbols, dialogues, narratives, and especially phenomenal characters like Memo(ry), Sinan (Strength), and Diyar (homeland) tease the possibility, none however let the technique lose. 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.

Script: Multiple pens to the story

Former seasons had a particular prominence to Mehmet Baris Gunger's style. While dialogue and theme delivery were mastered throughout, overused references and far-sighted, allusive foreshadowing compromised the organization of the progressive plot. This season, where scenarist Zeynep Bonce is equipped with an associate team, progresses at a pace relevant to the characters' developing apotheosis. Ezgi Ozcan, Samed Aslan, and Semiha Ilktueren form this team of creative advisors, that invest cool finishes to the script.

The plot hitting off in medias res introduces both monomythical and nested loops. After a directly introduced midpoint in S2 - An incompleteness to proper divinization has the protagonists stuck mid-apotheosis until a journey for the sake of self is achieved. The conflict cycles in loop until the right catharsis breaks it. The stolen boon meanwhile is played by compromised Love. Contrast between the journey to be achieved and the boon secured through a clean throw at spark-lining, the connection of identity and denied love sources through a strong projection of hope in fate and unison for the protagonists. The team upholds the tradition of Yali Capkini's storytelling through allusive references and semiotics still, stirring in techniques like manipulated/inclued subconscious revelations for the characters. Major internal and external references include: The Tyrants' Ship and Lewis Carroll's Alice in Wonderland. Semiotics inspired by the latter are distributed in several foreshadowing frames.

The exposition was fairly distributed within the first three episodes, the fourth brought upon a suiting B-story. Female's journey conflicted by Id and the male protagonist's expected to breakthrough soon; we await Bonce and her team's swift handling of the grandly pitched plot.

Music: Guldiyar Tanridagli's 'The Hero's Journey

Tanridagli's instruments are what play Seyran and Ferit's story independent from the projection. These are melodies that communicate through the characters' perception of their world as well as their souls.

From 'Ayrı Düştük' a pinching conversation of the hearts through rough strings of cello; where the protagonists complain and plead to one another through a felt presence around each other - to Seyran's personal theme that revolutionizes her story as a result of expository apotheosis.

The OST this season encourages a revolution, where it delivers pain within the viewer. 'Veda' 'Acı Gerçek' and 'Kendine Gel' remain CURRENTLY STARRING favorites other than the latter.

Creative Stakes: Art or Industry?

Yali Capkini, a OGM Pictures production with ratings up to (ABC1) 13.73/(TOTAL) 15.31 on Star TV prime time, gathers a multi-million audience in 120+ territories worldwide. The hexa million subscription figures on streaming platforms shouldn't seem a big deal to the tele-giant. What apparently gets the crew off pens and cameras though is something nucleus to former statistics. The consumer eye.

Film production and broadcasting is one of the vital ways the arts have relevance in today's world of economic turmoil and change. The relationship between art, the creative industries, culture, work, and society has evolved over time and remains in flux eternally. The course of this relevance and impact stays beneath the 'Artist - Critic' liaison withal. A relationship that marks both relevance and impact factors for any medium that is a conveyance of art to the human mind. As the intention towards maintaining this connection raises to question amongst the Yali Capkini viewership, prime time statistics take a prominent toll.

As initiated the comment with, straining a piece of art through capitalism and industry standards without harm to the origin of its impact is a scarce skill today. The film and television industries especially are not accustomed to the modern perspective of the creative. Though the former allows space for mundane, abstract production, the latter is yet to get used to it. OGM Pictures pitched an abstract perspective on love, destiny, and the influenced psychology in late 2021. Dr. Gulseren Budaicioglu's patient files were a responsibility crucial to be fulfilled towards modern youth, and so Afra Saracoglu, Mert R. Demir, and Cetin Tekindor were decided to convey a thrilling story. The industry's interpretation of the production however was either not anticipated or managed well. When a television broadcast material is received well by both critic and market, the creative successes a climactic choice between art and industry. Opting art may or may not affect stakeholder investment. Opting industry may cost the creative the critic's favor and consequently stakeholder investment. Choosing both, however - even though the braver, bolder decision - has the power to either make the art irrelevant altogether or to transform it into a masterpiece. Passionate creatives - one that Onur Güvenatam is - strive to derive impact over profit, Practical businessmen though - one that Güvenatam also strives to be - strive to derive profit from impact. While having feet in both boats is and proves to be a bold move on the Yali Capkini revenue statement. OGM Pictures fails to keep up with consumer investment due to creative stakes being constantly raised within the production. Airing a project of such narrative on prime time once every week has always been the projection's point of insecurity and remains to witness the toll it takes on the viewership. Despite master performances from lead actors such as Mert Ramazan Demir, Afra Saracoglu, Diren Polatoğulları, Emre Altuğ, and Beril Pozam; the script and plot clash with the airing format, now the most. The character arcs and delivery of themes scripted for Yali Capkini do not suit themselves their current projection. Relative shows like Pakistan's recent 'Noor Jahan' that aim to deliver such narratives either invest the project into streaming platforms like Netflix and HBO altogether or compromise their script of gradual and mundane development to achieve prime-time interaction. A format boasting 2.6 years of 1 2.8 hour episode per week that too on prime time, is wreckage to the message sought to be delivered. While the impact remains destined, P.T ratings take huge hits, lower every week - which seems obviously, an aspect capable of fluctuation over at OGM street as Editor Emrullah Hekim addresses page-long explanations of the plot on Twitter and Samed Aslan from the scenario team over-interacts with a deteriorating viewership. Airing choices that are tamed to mask consumer sourcing with asserted possession over the projection are a far throw at reviving the show's withholding within primary viewership. Revising these choices however, has hopeful potential of the former. Whether the artist is after creative or industrial fulfillment ergo, remains the question.

CURRENTLY STARRING: Yali Capkini Season 3

Wednesday, 9th 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

Provided by: TNBC Creators HUB, New York