Енгин Акюрек в „Kara Para Aşk”, нови и стари проекти – Тема 293

  Интересни ми бяха последвалите коментари с благодарности не за интересната информация, а за "безпристрастието" на поста. Първо, "безпристрастни" са само компютрите и неодушевените предмети. Всяка жива твар, особено пък човек, си има своите "страсти", така че не може да бъде "безпристрастен". Безпристрастни са длъжни да бъдат съдиите, журитата и прочие хора, от които зависи издаването на присъди и оценки. За пръв път чувам, че човек трябва да бъде безпристрастен в живота. Даже мисля, че ако има такива хора, те непременно имат най-малкото социални проблеми, да не кажа психични. Аз СЪМ пристрастна! Най-напред към децата си, към семейството си, после към приятелите си, към любимите си автори, филми, музика и каквото щеш.  Не знам коя от вас (която е майка) оценява децата си "безпристрастно". Само да си го помислиш е лудост! Естествено, всеки разумен човек се стреми към "обективност", т.е. към поглед от различни ъгли и гледни точки към един проблем. Но това не е безпристрастност.
   Още по-абсурдно ми се стори да се отправят похвали за безпристрастност във фенска тема. Ами че това си е... оксиморон! Дървен камък! Безпристрастни фенове! Представете си само... мач между Левски и ЦСКА, на който феновете следят мълчаливо и задълбочено играта, кимат мъдро с глави и от време на време процеждат по едно: "Мдааааа... тук нашите сбъркаха". Ох, само като си го представя и ми става смешно!
   Фенството е точно това - ПРИСТРАСТНОСТ от най-чист вид! За феновете обектът на тяхното възхищение и привързаност си е номер едно по презумпция. Това е аксиома. Разбира се, един фен може да престане да бъде фен, ако се разочарова. Но докато е фен, той ОБОЖАВА своя обект и точка.
   Та в този ред на мисли ми е адски странно това подмятане постоянно на разни гостуващи елементи из темата, че видите ли, тук имало "пристрастия". Ами... дубрутро, както се казва! Има! И то адски много! Но никой не очаква от вас да ги споделяте.
   За нас, подвизаващите се тук (кои по-редовно, кои от дъжд на вятър) Енгин си е намбър уан и точка. Никаква безпристрастност не ни трябва на нас. И всяка от нас си има своите лични причини да го обяви за такъв. Една се прехласва по къдриците му, друга по очите му, трета по играта му, но ни обединява именно това пристрастие. Естествено, като всички фенове, искаме нашето момче да бъде намбър уан за всички, на всички да им се отворят очите и да видят какво съкровище е той. Но единственото, което правим, е да си дъвчем до припадък това в нашата си тема. Не досаждаме на никого, не "гостуваме" из темите на другите звезди да им подмятаме регулярно как "техният човек" пак се е издънил, пък нашият е спечелил. Както казах веднъж, ние си "веем фанатизма" в нашата си тема.
   Та молбата ми е безпристрастните да си намерят някоя безпристрастна тема и да се изявяват там. Тук отклик няма да намерят. Няма нужда да се издирват снимки на Енгин, на които той не е излязъл добре, и да ни тестват чрез тях. Казвам го от свое име, но предполагам, че много то вас мислят като мен - ПЕТ ПАРИ НЕ ДАВАМ КАК Е ИЗЛЯЗЪЛ ЕНГИН НА ТАЗИ ИЛИ ОНАЗИ СНИМКА!!!!! За мен той си е най- и точка. И вие няма да ми промените мнението с безпристрастни снимки.
   Може би, ви изглеждам ограничена? Ами... ПЕТ ПАРИ НЕ ДАВАМ!!!!! Безброй пъти съм казвала защо точно Енгин е "моят човек". НА МЕН тези причини са ми достатъчни. И повече не изисквайте от мен безпристрастност! АЗ ОБОЖАВАМ ЕНГИН!

Sometimes, don’t you feel like a hamster running on a wheel? There is no way out and you have no choice but keep running on the same flat line, getting the same result every time. It is always the same vicious circle. It seems that you won’t be able to save yourself from that circle. Every step you take or every effort you put is in vain. Nothing changes. You end up having nothing but a deep despair, tediousness, and pessimism. If you could see a little bit light of hope, you would take a deep breath, gather your strength, and continue to fight. But,if there is no hope and you start feeling like nothing will change whatever you do,then that means you’ve already lost. This is how Elif and Omer, most importantly viewers feel at the end of the 26th episode; struggling in a nightmare and failing at last no matter how hard they try. In this series, what falls to our heroes and viewers’ share is nothing but failure and defeat. The winner is always one man, and that isTayyar. Even other bad men don’t have any chance against him let alone good ones. However, viewers want to catch their breath now and then. They want to see and enjoy the success of their heroes. They want to believe that their heroes are really heroes. Empty “determined and stubborn police officer” definition never convinces viewers. You can’t attach viewers to the series if they don’t have any expectations about a happy ending and a surprising success or have almost lost all their hopes about the story. This is like playing chess with a little child. If you defeat his every move and say checkmate every time, the child says the final checkmate by scolding, crying, and scattering chess pieces around. And you can’t convince him to learn or play the game again. This is the point where our writers brought viewers. Their taking the easy way out and insistence on throwing a curve using Tayyar who became an ordinary character long time ago led the story into a dead end instead of enriching it and caused viewers to turn away from the story by exhausting them. You can bear this if this is a Kafka story or if it is narrated in that quality but you can’t have this with a story narrated by a team who has to write two series per week. Seeing Tayyar and his side-kick Huseyin under every stone is boring, suffocating, and very tiring. And it is not very creative and exciting, either. The claim of “bad people always win” is out of place because you can be sure that sometimes even bad people stumble. At least, that’s what people want to believe. However, Tayyar never stumbles and he controls everything. There is nothing or nobody he can’t reach or control. He doesn’t have any opponents, either. He holds a monopoly of malice. There is not a single opponent as bad as him who competes with him for the same thing, who wants to take advantage of the same bids or dark businesses, or who wants to spike his guns. It is a position that makes even dictators jealous. After all, they deal with parallel states, non-governmental organizations, some part of the media, and freedom enthusiasts named “chapulcu” that create a lot of trouble. Time to time, even their wrongdoings are leaked and they have a hard time to cover those up or are never able to do so. But is Tayyar like that? His only opponents are a poor police officer whom he exaggerates, thinking that he is very determined and stubborn and a spoiled Signorina who is about to lose her reasoning because of her love. Arda and Sami are incompetent. Fatih or Metin, whatever his name is, whom we relied on for the last couple of episodes by hoping that he would change things, is a lunatic who lost his mind, who is crippled by his love, and who lowered his guard with the “She gave me water” kind of appreciation of the Hunchback of Notre Dame at Tayyar’s first “my son” hug. Yes, there are examples of stories loved by viewers because of a bad character that always wins and viewers find that character very charismatic. But this won’t happen with Tayyar because he was already caricaturized during the initial cast selection. If you give our 1.70m tall Uncle Tayyar two tall sons (one is 1.89m and the other is 1.95m) as some of our friends, especially our dear Kerim pointed out and turn them into Daltons, if you select rest of the cast among tall people as well, if you write unrealistic scenes in which he cuts and chops people, if you ridiculously focus the camera on his face, and furthermore, if this actor is identified with comedy because of his prior works, then I am sorry but it is too late for your charismatic bad person. This means that your efforts to make the story plausible with a sympathetic, funny man who is hardly believable but capable of everything are in vain. While Tayyar was lengthily telling Nevin and Fatih about how he made a big mistake and regretted what he did, even crows laugh at your efforts as the director himself pointed out many times between 1:23:33 and 1:27:35. I am sorry.

As assigning the ignition of the story to a humorous bad man doesn’t ignite the story, making a colorful but inconsistent character the center of the story doesn’t build a solid foundation. It is true that Elif won our hearts with her beauty, her warm heart full of love, her love, and gorgeous eyes but can that character carry the story? I doubt that. And after this episode, I am very skeptical. Until now, she was a thoughtful, devoted, and down-to-earth character. Personally, she was my favorite character in the series. I don’t know what happened, but she turned into a spoiled, selfish, and reckless character. For me, she was the least likable character of this episode. She ruined everything all of a sudden. No one should get angry with Tayyar. Everything, including Elif’s arrest, was all Elif’s achievement rather than Tayyar’s. Probably, Sami was right for the first time. Withdrawing her complaint, threatening Omer by forcing him to choose between“her”and “his job” created thoughtless and selfish Elif. As dear Citi Piti pointed out, as if pulling the handbrake wasn’t enough, she was very disappointed when Omer pulled his hand away in the hospital scene. Her disappointment when Omer let her hand go after the nurse entered room topped everything.Until this episode, Elif was not a character like that. Thanks to our writers, we have not any consistent character left. Elif was the last victim of our scenario goddesses.

I guess watching Asli’s tears in the scene where she said “Why? My God, why?” would be enough to see the truth. Asli is really one of the best performances of the series. So do Arda and Chief Ali. I can’t get used to the kind of acting that Metin and Nilufer do. But I like Hazal Turasan as Asli. By the way, Asli told that she didn’t remember anything but she said she wouldn’t climb the windows anymore. As our dear friend As Min pointed out, she seemed she remembered everything. And it was also interesting to see that they used a stunt woman for Zerrin in the scene where Asli pushed Zerrin.

I know that many people scold us since we harshly criticize the series. But loving doesn’t mean that we should play three monkeys. The healthier approach is to see the reality, realize existing problems, and seek for a solution. I guess this is the most advanced point that we can reach unless we break this repressive attitude and cultural background that prevents questioning. Therefore, the best approach is to hear criticisms and think what can be done to improve things. While doing this, you should consider all of the criticisms instead of the ones that suit your book. You should remember that not all viewers use twitter, send tweets, and praise the actors or the writers to ingratiate themselves with them or to be retweeted many times. You should take the silent majority into consideration and hear them out. Furthermore, the ones that make all the noise don’t always represent the majority. Therefore, you should consider this little warning when you insist on Metin-Nilufer love and think that the series is loved.

Do you realize that no one in the series reads newspapers or books? They don’t watch documentary, news, or discussions on TV. They only watch TV series and soccer games. Thank God, they go to movies. But they don’t use social media. Spoiled Nilufer and Mert haven’t sent a single tweet on Twitter or uploaded a single photo to Instagram. Maybe, I missed those things. They are so disconnected from the real life, live in such a different dimension, and their vision is so narrow that one shouldn’t expect this kind of actions. Even their menus are limited. It seems that as a result of their “Manti (ravioli) ” expansion, they were able to go beyond pasta, bread with pepper, and bagel.

I wasn’t able to mention many things since I didn’t comment about the past episodes. It was not because I liked the episodes. Many of our friends loved those episodes and I respect them. However, I can’t write my commentaries unless I watch an episode twice. As I wasn’t able to watch those episodes twice and I couldn’t write, either. But, I want to talk about our director’s effect-mania, his incompetency about it and our Ravioli maker Aunt Fatma’s stay in Omer’s house and her inconsiderateness. Dear director, please don’t do these effects in this series. If you love this kind of effects, please make a movie named “The Man Who Saved the World – III” (Translator’s note: It is an old “Turkish” Star Wars movie that has very cheesy film effects and that used unauthorized Star Wars footage and music. Although it was poorly filmed and mocked by viewers, it became a cult movie over the years. Phil Hall of Film Threat gave the film a perfect 5 stars, calling it "jaw-droppingly insane ... a film that makes criticism moot.” Source: Wikipedia) and save those effects for that movie. Dear writers, please send Fatma to her house and end this nonsense. This situation is against our culture and the natural flow of life. Let Fatma fulfill her fuel need by selling her earrings. If she is really in need, let Omer and his family help her financially or let her apply district governorate for an aid and put an end to this freaky situation.

Also, please stop addressing people with their first and last names since we never do this in our daily life. We address presidents, politicians, artists by calling their first or last name. If necessary, we use some honorific words but we never use their first and last names together. I am not sure how our scenarists come up with this kind of combination: “TayyarDundar” , “Omer Demir”, etc. What is this, for God’s sake? When we address people as “TayyarBey (Mr. Tayyar)” or “Ömer Komiser (Captain Omer)”, we stress those “Bey” and “Komiser” words in such a way that it may sound as if we are cursing them sometimes. But we never do this by using first and last names together. When you this, that disturbs native speakers and ruins the plausibility of actors’ acting.

Inconsistencies of the scenario are the real reason that causes viewers to drift away. Many of our members already mentioned these. I admiringly read their incredible observations. For example, it is very absurd that Tayyar who controls everything cannot control his sons. It was very funny that Metin rented a house right in front of his nose when he decided to draw Metin away. I can’t believe that he lost Mert now and he didn’t have his men follow Elif or watch her house. Obviously, he had given up on Elif and her family. He found out his son was staying in Elif’s house via his lawyer who was accidently passing by Elif’s house. His men don’t know how to chase people. He ordered his men to watch the house to prevent Metin from running away. But Metin freely got out of the house, went to a mall, and found Nilufer and Mert whom nobody, including our determined police officer Omer, could find. There are many examples like that and many of us don’t miss these details.

In my past commentaries, I complained that Turkish directors were not successful in filming kissing scenes. My complaints were totally from the esthetical perspective and therefore, I said that a romantic touch, look or whisper was more effective. After that RTUK incident, I take all my complaints back. Even though I like their little kisses, if the characteristics of their kissing changed because of that report, that upsets me and therefore, I demand hotter French kisses from the cast. I say that resisting these kinds of nonsenses is the human’s nature and I kiss you all.

I still believe that everything will be better. There is always hope.
Kara Para Aşk – 25. Bölüm Yorumu / Dirty Money Love Episode 25 Commentary Mery Em Bazen kendimizi bir çarkın içinde dönüp duran hamster gibi hissettiğiniz olmaz mı? Çıkış yok, seçenek yok, düz biz çizgide koş, dur ama sonuç hep aynı. Kısır bir döngüde debelenip durursunuz. Ve bu döngüden kurtulma şansımız da yok gibidir. Attığınız her adımda, her çabanızda yorulduğumuz yanımıza kar kalır ve değişen hiçbirşey olmaz. Sonuç derin bir umutsuzluk, iç sıkıntısı ve karamsarlık. Küçük bir ışık, küçük bir umut görebilseniz; yeniden soluk alır, güç kazanır ve mücadeleye devam edersiniz. Ama hiç umut olmadan “ne yapsam sonuç değişmeyecek” duygusuna kapıldığınız an kaybetmişsiniz demektir. 26.Bölüme geldiğimizde Ömer’in, Elif’in ve en önemlisi izleyicinin içine düşürüldüğü durum da aynen budur. Bir kabusun içinde debelenip durmak. Nereye koşsanız, nereden tutunmaya çalışsanız sonuç hep aynı, sonuç daima başarısızlık. Bu dizide kahramanlarımızın ve izleyicinin payına uygun görülen başarısızlık ve yenilgidir. Daima kazanan tek bir kötü adamdır, Tayyar. İyileri geçtik, bir başka kötü adamın bile şansı yoktur onun karşısında. Oysa izleyici zaman zaman soluklanmak ister. Kahramanlarının başarısını görmek ve o başarının tadını çıkarmak ister. Kahramanlarının, kahraman olduğuna inanmak ister. İçi boş “cevval” tanımlaması izleyiciyi asla ikna edemez. Kahramanlarına inancı her bölüm sınanan, o bölümde ve gelecek bölümlerde mutlu sona, sürpriz başarıya dair beklentisi kalmayan, hikayeden umudunu kesme noktasına getirilen izleyiciyi ekrana bağlayamazsınız. Bu küçük bir çocuğu karşınıza oturtup, satranç oynamaya benzer. Her hamlesini boşa çıkarır ve illaki her seferinde şah mat derseniz; sonunda asıl şah matı çocuk yapar ve taşları eli ile dağıtıp; bağır, çağır küserek kalkar. Bir daha da oyunu öğrenmeye ve oynamaya ikna edemezsiniz. Senaristlerimizin izleyiciyi getirdiği nokta budur. Kolaycılık ve ters köşe iddiasındaki ama aslında sıradanlaşan Tayyar’a kazandırma inadı hikayeyi zenginleştirmek yerineçıkmaza sokmuş, izleyicinin bunalarak kaçmasına neden olmuştur. Bir Kafka öyküsünde ve o kalitede bir anlatımda buna katlanabilirsiniz ama; haftada iki dizi yazma durumundaki bir ekibin anlatımı ile zordur. Her taşın altından Tayyar’ı ve yancısı Hüseyin’i çıkartma kolaycılığı sıkıcı, boğucu ve gına getiren bir durumdur. Bu durumun yaratıcılık ve heyecanla ilgisi olmadığı da ortadadır. Hele ki “Hep kötüler kazanır” söylemi ve gerçekçilik iddiası yerinde olmayan bir iddiadır. Çünkü emin olun zaman zaman kötüler de tökezler. En azından insanlar bunun öyle olacağına inanmak isterler. Oysa Tayyar asla tökezlemez, ipler hep onun elindedir. Elinin ulaşmayacağı ve kontrol edemeyeceği bir makam ve kişi yoktur. Rakibi de yoktur. Kötülük tekelini elinde tutar. Koca şehir ve ülke de, onunla aynı mecrada yarışan, onunla aynı ihaleler, aynı karanlık bölgelerde çıkar sağlamaya çalışan, ayağını kaydırmak isteyecek rakip bir kötü adam bile yoktur. Diktatörleri bile kıskandıracak bir konum. Sonuçta diktatörlerin başının belası paraleller, bir kısım medya, sivil toplum örgütleri, muhalefet ve özgürlük meraklısı çapulcu halk kitleleri vardır. Diktatörlerin de açıkları zaman zaman ortalığa dökülür ve üzerleri çok zor kapatılır, hata aslında kapatılamaz bile. Ama Tayyar öyle midir? Karşısında cevval diye şişirdiği ama aslında biçare bir komisercik ile aşktan mantıklı düşünme yetisini de yitirmeye başlayan şımarık bir Sinyorina vardır o kadar. Arda ve Sami yetersiz, bir umut diye iki bölüm bel bağladığımız Fatih mi, Metin mi her kim ise o şahıs ise; Notre Dame'ın kamburu Quasimodo’nun “Bana su verdi” minnettarlığında, ilk oğlum sarılmasında kalkanları düşen akıl yoksunu, aşk vurgunu bir meczuptur. Olabilir, izleyicinin karizmatik ve hep kazanan kötü adamları da benimsediği ve asıl onun peşine takılıp hikayeyi uçurduğu pek çok örnek vardır. Ama Tayyarla bu olamaz. Çünkü daha kadro oluşturulurken adamcağız karikatürize edilmiştir. Pek çok arkadaşımız ve özellikle Sevgili Kerim’in vurguladığı gibi 1,70 boyundaki Tayyar amcamıza, 1,89 ve 1,95 boyunda iki oğul verir, Dalton çetesine dönüştürürseniz; kalan kadroyu da uzun boylu adamlar arasından seçerseniz, gerçeküstü kesme-biçme sahneleri yazar, kamerayı komik bir biçimde de yüzüne odaklarsanız, üstelik bu çok iyi aktör tv. izleyicisinin hafızasında komedi ile özdeşse; karizmatik kötü adam için baştan geçmiş olsun demişsinizdir. Sempatik, eğlenceli hali ile inandırıcılıktan uzak ama bir o kadar da her işe muktedir bir kötü adamla; hikayeyi inandırıcı kılma çabalarınız da işte böyle havada kalır. Tayyar, Nevin ve Fatih’e hata ettiğine dair pişmanlık tiratları atarken; arka fonda kargaların kahkaha sesi geldiği gibi(1:23:33-1:27:35 arasında defalarca) bu çabaya bizim değil, yönetmenin dikkat çektiği üzere kargalar bile güler, üzgünüm. Nasıl hikayeyi ateşleme görevini mizahi bir kötü adama yüklemek o ateşlemeyi sağlamıyorsa; Hikayenin merkezine Elif gibi çok renkli ve tutarlı olmayan bir karakteri oturtmak da zeminin sağlam olmasına engeldir. Evet, Elif güzelliği, sevgi dolu kalbi, aşkı ve muhteşem gözleri ile kalbimizi çoktan fethetmiş bir karakter. Bu doğru ama hikayeyi sırtlayacak bir karakter midir? İşte o şüpheli. Hele ki; bu bölümden sonra. Bugüne kadar hep düşünceli, özverili, ayakları yere sağlam basan bir Elif vardı karşımızda. Kişisel olarak dizinin en sevdiğim karakteriydi bile diyebilirim. Ama her ne olduysa bizim aklı başında kızımız; birden şımarık, bencil, düşüncesiz ve dengesiz Elif’e dönüşüverdi. Hatta benim için bu bölümün en sevimsiz karakteriydi diyebilirim. Bir anda her şeyi berbat etti. Hiç kimse Tayyar’a kızmasın, bu bölüm Tayyar’ın başarısı gibi görünen herşey, gözaltına alınması da dahil; anlı şanlı Elif başarısıydı. Sami belki de ilk kez haklıydı. Şikayetleri geri çekmesi, Ömer’e ya işin, ya ben diye rest çekmesi, düşüncesiz ve bencil bir Elif yarattı. Sevgili Çıtı Pıtı’nın vurguladığı el firenini çekme rezaleti yetmedi; o hastane sahnesinde Ömer elini çektiğinde bozulması neydi? Hemşire girince Ömer elini çekti diye bozulmak, şımarıklığın zirvesiydi. Oysa bu bölüme kadar Elif böyle bir karakter değildi. Ama karakterlerin gelgitlerine alıştık, senaristlerimiz sayesinde tek bir tutarlı karakterimiz kalmadı çok şükür. Senaryo tanrılarının son kurbanı da Elif oldu böylece. “Neden? Neden Allahım?” sahnesindeki Aslı’nın gözyaşlarını izlemek bazı gerçekleri görmek için yeterli olur sanırım. Aslı demişken; gerçekten en iyi performanslardan birisini o sergiliyor. Tıpkı Arda ve Ali Amir performansları gibi. Çok kişinin tersine Hüseyin, Metin, Nilüfer gibi oyunculuklara bir türlü ısınamıyorum, hatta katlanamıyorum ama ufak tefek istisnalar dışında Aslı yorumu ile Hazal Türesan’ı çok beğeniyorum. Bu arada Aslı hiç bir şey hatırlamadığını söyledi ama pencerelere de tırmanmayacağım da dedi. Sevgili arkadaşımız Asmin’in de dikkat çektiği gibi aslında her şeyi hatırlıyor izlenimi verdi. Bu arada bir şey daha dikkatimi çekti, Aslı, Zerrin itişmesi sahnesinde, Zerrin için dublör kullanılması ilginçti. Biliyorum çok sert eleştiriyoruz diye pek çok kişi kızıyor. Ama unutmamalı ki bir insanı ya da bir işi sevmek üç maymun oynamayı gerektirmez. Gerçeği ve sorunları görmek, çözümleri araştırmak daha sağlıklı bir yaklaşımdır. Sorgulamayı, eleştirmeyi engelleyen bu kültürel alt yapı ve baskıcı tavrı kıramadığımız sürece gidebileceğimiz en ileri nokta da burası galiba. O yüzden eleştirilere kulak tıkamamak, ne yapabiliriz diye düşünmek en doğru tavır olacaktır. Ama bunu yaparken; işimize gelen eleştiriyi değil, tüm eleştirileri dikkate almak gerekir. Her izleyici twitter kullanmaz, her izleyici tweet atmaz ve her izleyici rt almak adına, ya da şirin görünmek için övgü yazmaz, bunu unutmamak lazım. Sessiz çoğunluğu göz ardı etmemek, onların sessizliğine de kulak vermek lazım. Kaldı ki her fazla gürültü çıkaran, çoğunluğun sesi değildir. Bu yüzden dizi çok beğeniliyor diye düşünürken, hala ısrarla Metin ve Nilüfer hikayesine ağırlık verilirken; bu küçük uyarı da dikkate alınmalıdır. Sahiden twitter vs. demişken, farkında mısınız dizide tek bir insan gazete, kitap okumuyor. Dizi ve maç dışında, tv.de haber, tartışma, belgesel izlemiyor. Şükür film izliyorlar. Sosyal medya kullanmıyorlar. Şımarık Nilüfer ve Mert bile tek bir tweet atmadı, instagrama fotoğraf yüklemedi. Yoksa benim mi dikkatimden kaçtı? Hayattan o kadar kopuklar ki, o kadar başka boyutta yaşıyorlar, vizyonları o kadar dar ki, böylesi eylemleri beklemek zor. Malum menüleri bile sınırlı. Neyse mantı açılımı ile biberli ekmek, simit ve makarna saltanatını bir ölçü de kırar gibi olduk. Geçen bölümlerde yorum yazmadığım için pek çok konuya değinemedim. Bu, o bölümleri beğendiğim için değildi. Pek çok arkadaşım beğendi ve saygı duyuyorum ama ben 2. kez izlemeden yorum yazamıyorum ve izleyemedim, yazamadım. Ama yönetmenimizin efekt çılgınlığı ve kusura bakmasın bu konudaki yetersizliği ile Mantıcı Fatma Teyzemizin, Ömerlerin evinde konaklaması ve hadsizliğine hiç olmazsa burada kısaca değinmek zorundayım. Sevgili yönetmenim ne olursunuz bu dizide bunları yapmayınız, çok hevesiniz varsa Dünyayı Kurtaran Adam-3’ü çekiniz ve bu efektleri oraya saklayınız. Sevgili senaristlerimiz siz de lütfen Fatma Hanım’ı evine göndererek bu saçma sapan duruma bir son verin. Bu bizim toplum yapımıza ve hayatın olağan akışına ters bir durum. Fatma Bacı kulağındaki küpeleri satarak yakıtını alsın, gerekirse Ömer ve ailesi maddi yardım yapsın, kaymakamlığa vs. başvursun ama illaki bu garabet durum sonlansın. Bir de lütfen bizim dizilerde çokça başvurulan ama günlük hayatta hiç de başvurmadığımız adı ve soyadı ile seslenme alışkanlığına bir son verilsin. Biz ki; devlet başkanlarına, siyasetçisinden; sanatçısına, büyüğünden, küçüğüne ilk ya da son adı ile hitap eden bir toplumuz. Gerekirse önüne sonuna hitap ekler ama soyadı eklemeyiz. Yerli senaristlerimizin bu ad-soyad birlikte seslendirme alışkanlığı nedir? “Tayyar Dündar”, “Ömer Demir” nedir bu Allah aşkına? “Tayyar Bey” “Ömer Komiser” diye hitap ederken; o “bey” ve “komiser” öyle vurgulanır ki, küfür gibi algılarsınız. Ama ad-soyad kullanmazsınız. Öyle yapınca da kulakları tırmalar, oyuncuların güzelim performanslarını bir anda inandırıcılıktan uzaklaştırırsınız. Tabi senaryodaki tutarsızlıklar da izleyiciyi uzaklaştıran en önemli unsur. Çok arkadaşımız bunlara değindi, inanılmaz gözlemler var ve hayranlıkla okuyorum. Mesela herşeyi kontrol eden Tayyar’ın oğullarını kontrol edememesi hep saçma gelmiştir. Metin’i uzaklaştırmak için başka eve taşıdığında, onun burnunun dibinde ev tutması çok komikti. Şimdilerde de Mert’i kaybetmesi inanılır gibi değil. Hele de başının güya belası Elif’i ve evini izlettirmemesi saçmalığın zirvesiydi. Belli ki Elif ve ailesinin peşini bırakmıştı, oğlunun orada olduğunu koca İstanbul’da tesadüfen oradan geçerken gören avukatından öğrendi. Gerçi belli ki adamları bu takip işini pek bilmiyor zira; güya Fatih/Metin’i kaçmasın diye evin etrafını kuşatmıştı ama Metin elini kolunu sallayarak AVM.lerde dolaştı. Kimsenin, cevval komiser Ömer’in bulamadığı Mert ve Nilü’yü, eli ile koymuş gibi buldu ve takibe aldı. Bu örnekleri çoğaltmak mümkün ama zaten bu ayrıntılar pek çoğunuzun gözünden kaçmadı. Tıpkı öpücüklerin şekil değiştirmesi gibi. Geçmiş yorumlarımda tamamen estetik kaygılarla, bu sahnelerin güzel çekilmediğinden yakınmış ve romantik bir dokunuşun, bakışın, fısıltının daha etkili olduğundan dem vurmuştum. İşgüzar RTÜK raportörü vakasından sonra öpücükle ilgili tüm yazdıklarımı geri çekiyorum. Her ne kadar bu tarz minik öpüşleri sevsem de; eğer öpücükler onun yüzünden şekil değiştirdiyse çok üzüleceğim. Ve ısrarla tüm ekipten daha ateşli öpücükler ve french kissler talep edeceğim. Bu tarz saçmalıklara boyun eğmemek çağdaş insanın fıtratındandır diyor ve hepinize öpücüklerimi sunuyorum. Hala inatla her şeyin güzel olacağına inanıyorum, umut hep olacak… ********* Sometimes, don’t you feel like a hamster running on a wheel? There is no way out and you have no choice but keep running on the same flat line, getting the same result every time. It is always the same vicious circle. It seems that you won’t be able to save yourself from that circle. Every step you take or every effort you put is in vain. Nothing changes. You end up having nothing but a deep despair, tediousness, and pessimism. If you could see a little bit light of hope, you would take a deep breath, gather your strength, and continue to fight. But,if there is no hope and you start feeling like nothing will change whatever you do,then that means you’ve already lost. This is how Elif and Omer, most importantly viewers feel at the end of the 26th episode; struggling in a nightmare and failing at last no matter how hard they try. In this series, what falls to our heroes and viewers’ share is nothing but failure and defeat. The winner is always one man, and that isTayyar. Even other bad men don’t have any chance against him let alone good ones. However, viewers want to catch their breath now and then. They want to see and enjoy the success of their heroes. They want to believe that their heroes are really heroes. Empty “determined and stubborn police officer” definition never convinces viewers. You can’t attach viewers to the series if they don’t have any expectations about a happy ending and a surprising success or have almost lost all their hopes about the story. This is like playing chess with a little child. If you defeat his every move and say checkmate every time, the child says the final checkmate by scolding, crying, and scattering chess pieces around. And you can’t convince him to learn or play the game again. This is the point where our writers brought viewers. Their taking the easy way out and insistence on throwing a curve using Tayyar who became an ordinary character long time ago led the story into a dead end instead of enriching it and caused viewers to turn away from the story by exhausting them. You can bear this if this is a Kafka story or if it is narrated in that quality but you can’t have this with a story narrated by a team who has to write two series per week. Seeing Tayyar and his side-kick Huseyin under every stone is boring, suffocating, and very tiring. And it is not very creative and exciting, either. The claim of “bad people always win” is out of place because you can be sure that sometimes even bad people stumble. At least, that’s what people want to believe. However, Tayyar never stumbles and he controls everything. There is nothing or nobody he can’t reach or control. He doesn’t have any opponents, either. He holds a monopoly of malice. There is not a single opponent as bad as him who competes with him for the same thing, who wants to take advantage of the same bids or dark businesses, or who wants to spike his guns. It is a position that makes even dictators jealous. After all, they deal with parallel states, non-governmental organizations, some part of the media, and freedom enthusiasts named “chapulcu” that create a lot of trouble. Time to time, even their wrongdoings are leaked and they have a hard time to cover those up or are never able to do so. But is Tayyar like that? His only opponents are a poor police officer whom he exaggerates, thinking that he is very determined and stubborn and a spoiled Signorina who is about to lose her reasoning because of her love. Arda and Sami are incompetent. Fatih or Metin, whatever his name is, whom we relied on for the last couple of episodes by hoping that he would change things, is a lunatic who lost his mind, who is crippled by his love, and who lowered his guard with the “She gave me water” kind of appreciation of the Hunchback of Notre Dame at Tayyar’s first “my son” hug. Yes, there are examples of stories loved by viewers because of a bad character that always wins and viewers find that character very charismatic. But this won’t happen with Tayyar because he was already caricaturized during the initial cast selection. If you give our 1.70m tall Uncle Tayyar two tall sons (one is 1.89m and the other is 1.95m) as some of our friends, especially our dear Kerim pointed out and turn them into Daltons, if you select rest of the cast among tall people as well, if you write unrealistic scenes in which he cuts and chops people, if you ridiculously focus the camera on his face, and furthermore, if this actor is identified with comedy because of his prior works, then I am sorry but it is too late for your charismatic bad person. This means that your efforts to make the story plausible with a sympathetic, funny man who is hardly believable but capable of everything are in vain. While Tayyar was lengthily telling Nevin and Fatih about how he made a big mistake and regretted what he did, even crows laugh at your efforts as the director himself pointed out many times between 1:23:33 and 1:27:35. I am sorry. As assigning the ignition of the story to a humorous bad man doesn’t ignite the story, making a colorful but inconsistent character the center of the story doesn’t build a solid foundation. It is true that Elif won our hearts with her beauty, her warm heart full of love, her love, and gorgeous eyes but can that character carry the story? I doubt that. And after this episode, I am very skeptical. Until now, she was a thoughtful, devoted, and down-to-earth character. Personally, she was my favorite character in the series. I don’t know what happened, but she turned into a spoiled, selfish, and reckless character. For me, she was the least likable character of this episode. She ruined everything all of a sudden. No one should get angry with Tayyar. Everything, including Elif’s arrest, was all Elif’s achievement rather than Tayyar’s. Probably, Sami was right for the first time. Withdrawing her complaint, threatening Omer by forcing him to choose between“her”and “his job” created thoughtless and selfish Elif. As dear Citi Piti pointed out, as if pulling the handbrake wasn’t enough, she was very disappointed when Omer pulled his hand away in the hospital scene. Her disappointment when Omer let her hand go after the nurse entered room topped everything.Until this episode, Elif was not a character like that. Thanks to our writers, we have not any consistent character left. Elif was the last victim of our scenario goddesses. I guess watching Asli’s tears in the scene where she said “Why? My God, why?” would be enough to see the truth. Asli is really one of the best performances of the series. So do Arda and Chief Ali. I can’t get used to the kind of acting that Metin and Nilufer do. But I like Hazal Turasan as Asli. By the way, Asli told that she didn’t remember anything but she said she wouldn’t climb the windows anymore. As our dear friend As Min pointed out, she seemed she remembered everything. And it was also interesting to see that they used a stunt woman for Zerrin in the scene where Asli pushed Zerrin. I know that many people scold us since we harshly criticize the series. But loving doesn’t mean that we should play three monkeys. The healthier approach is to see the reality, realize existing problems, and seek for a solution. I guess this is the most advanced point that we can reach unless we break this repressive attitude and cultural background that prevents questioning. Therefore, the best approach is to hear criticisms and think what can be done to improve things. While doing this, you should consider all of the criticisms instead of the ones that suit your book. You should remember that not all viewers use twitter, send tweets, and praise the actors or the writers to ingratiate themselves with them or to be retweeted many times. You should take the silent majority into consideration and hear them out. Furthermore, the ones that make all the noise don’t always represent the majority. Therefore, you should consider this little warning when you insist on Metin-Nilufer love and think that the series is loved. Do you realize that no one in the series reads newspapers or books? They don’t watch documentary, news, or discussions on TV. They only watch TV series and soccer games. Thank God, they go to movies. But they don’t use social media. Spoiled Nilufer and Mert haven’t sent a single tweet on Twitter or uploaded a single photo to Instagram. Maybe, I missed those things. They are so disconnected from the real life, live in such a different dimension, and their vision is so narrow that one shouldn’t expect this kind of actions. Even their menus are limited. It seems that as a result of their “Manti (ravioli) ” expansion, they were able to go beyond pasta, bread with pepper, and bagel. I wasn’t able to mention many things since I didn’t comment about the past episodes. It was not because I liked the episodes. Many of our friends loved those episodes and I respect them. However, I can’t write my commentaries unless I watch an episode twice. As I wasn’t able to watch those episodes twice and I couldn’t write, either. But, I want to talk about our director’s effect-mania, his incompetency about it and our Ravioli maker Aunt Fatma’s stay in Omer’s house and her inconsiderateness. Dear director, please don’t do these effects in this series. If you love this kind of effects, please make a movie named “The Man Who Saved the World – III” (Translator’s note: It is an old “Turkish” Star Wars movie that has very cheesy film effects and that used unauthorized Star Wars footage and music. Although it was poorly filmed and mocked by viewers, it became a cult movie over the years. Phil Hall of Film Threat gave the film a perfect 5 stars, calling it "jaw-droppingly insane ... a film that makes criticism moot.” Source: Wikipedia) and save those effects for that movie. Dear writers, please send Fatma to her house and end this nonsense. This situation is against our culture and the natural flow of life. Let Fatma fulfill her fuel need by selling her earrings. If she is really in need, let Omer and his family help her financially or let her apply district governorate for an aid and put an end to this freaky situation. Also, please stop addressing people with their first and last names since we never do this in our daily life. We address presidents, politicians, artists by calling their first or last name. If necessary, we use some honorific words but we never use their first and last names together. I am not sure how our scenarists come up with this kind of combination: “TayyarDundar” , “Omer Demir”, etc. What is this, for God’s sake? When we address people as “TayyarBey (Mr. Tayyar)” or “Ömer Komiser (Captain Omer)”, we stress those “Bey” and “Komiser” words in such a way that it may sound as if we are cursing them sometimes. But we never do this by using first and last names together. When you this, that disturbs native speakers and ruins the plausibility of actors’ acting. Inconsistencies of the scenario are the real reason that causes viewers to drift away. Many of our members already mentioned these. I admiringly read their incredible observations. For example, it is very absurd that Tayyar who controls everything cannot control his sons. It was very funny that Metin rented a house right in front of his nose when he decided to draw Metin away. I can’t believe that he lost Mert now and he didn’t have his men follow Elif or watch her house. Obviously, he had given up on Elif and her family. He found out his son was staying in Elif’s house via his lawyer who was accidently passing by Elif’s house. His men don’t know how to chase people. He ordered his men to watch the house to prevent Metin from running away. But Metin freely got out of the house, went to a mall, and found Nilufer and Mert whom nobody, including our determined police officer Omer, could find. There are many examples like that and many of us don’t miss these details. In my past commentaries, I complained that Turkish directors were not successful in filming kissing scenes. My complaints were totally from the esthetical perspective and therefore, I said that a romantic touch, look or whisper was more effective. After that RTUK incident, I take all my complaints back. Even though I like their little kisses, if the characteristics of their kissing changed because of that report, that upsets me and therefore, I demand hotter French kisses from the cast. I say that resisting these kinds of nonsenses is the human’s nature and I kiss you all. I still believe that everything will be better. There is always hope.