The time for 'Refugees' in Turkish TV series

Turkish TV series are making a name for themselves around the world.

They are watched with great interest, especially in lands that are remnants of the Ottoman Empire.

Young people in neighboring countries speak Turkish almost flawlessly.

Just as Americans used the art of cinema as an imperial instrument, especially during the Cold War, the Turks have also begun to use this tool. With the spread of the Turkish language, the scope of cultural influence has also expanded. Of course, making this sustainable is the main goal; however, it is by no means easy.

As we see in American and British productions, transferring current events to the script and the screen is the most important step for continuity. British filmmakers, who bring the interesting accents of Indians or Pakistani hustlers similar to our own 'Kapıcı Seyit' (Janitor Seyit) to the screen, are expanding their sphere of influence logarithmically. Americans have also been resorting to similar methods since time immemorial.

In the 1970s, Turkish cinema also made similar attractions. "Arap Bacı," the curly-haired servant, and the big-bottomed kitchen apprentice were some of these. Esmeray, on the other hand, is a legendary musician.

The time has now come for the migrations that have come to our country in the last 15 years to be adapted into cinema as well.

Indeed, millions of refugee children who speak better Turkish than I do have grown up; they have become involved in both social and commercial life.

They don't seem likely to return anytime soon; that is, if they don't fall prey to the monster of inflation.

If we want to increase our cultural influence in both TV series and cinematic productions, processing the dramatic and tragic stories of the last 15 years will add strength to the scripts.

Thus, Turkey, exhausted by both the economic and social weight created by migrations, might catch its breath, if only a little.