On the “Another” Series

We watch very successful acting and therapy scenes throughout the series. Conflicts and suppressed emotions, including therapists, are conveyed very clearly and realistically. The music was obviously chosen carefully because after finishing the series, Ferdi Özbegen still continues in a corner of our minds.

The first scene of the series begins with Meryem’s journey through the forests to a different urban world, namely Sinan’s house. When she enters the house, she reaches for her bag with her hand and we witness her fainting. Then we get involved in the scene with Peri, a psychologist. Interestingly, Meryem gives an important idea about herself: “Do I have to do something?” starts with

Meryem is a character who always does something for others. It is in the position of serving, covering and protecting. In the first session, she asks the therapist if she is single and she says her biggest desire is to get married. It’s like the expression of an objectless desire.

The transference, countertransference issue is handled very nicely and realistically. Meryem’s “Sister, you are also obsessed with Sinan Bey. I did not come here to gossip” is a very good example of transfer. Peri, helpless in front of Meryem, reflects an important conflict that she marginalizes because of her closedness, with anger and restlessness that she cannot express. Even though his relationship with Meryem comes to the brink of giving up every time, he will continue with the support of his therapist Gülbin, allowing him to touch his inner conflict with his mother. The fairy will remain there as a fixed object as a therapist for Mary, and eventually we will see a relationship established between them. Gülbin’s transfer to Peri is also full of anger. In other words, just like Peri did to Meryem… On the one hand, “the girl is wearing a test type, but she’s walking around with a sack” is a very true and realistic statement.

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The series can be considered in the context of femininity, feminine competition and intergenerational transmission. Both Peri and Gülbin are characters dealing with the women in the family. With Peri’s alien and marginalizing view of the social environment she lives in, which was transferred from her mother, she stays outside as if she were a guest in the family home and struggles with the conflicts she noticed about her mother, while Gülbin has to make the same effort as her sister. This time, Gülbin is exposed to the marginalized gaze of her sister, and in a very painful way. We witness her sister’s openly feminine rivalry with her sister Gülbin. The fact that her older sister is not able to hold a man in her hands with a masculine rhetoric, that she is an opposition and judges her profession by underestimating, and Gülbin’s refusal to admit that she treated her brother incorrectly by hiding behind her doctor’s identity, shows that the competition is raw for both sides, turning into a real violence and destructiveness. .

It is very nice to use the metaphor of the qibla. It was an example for us that Rubiye always dictated the direction of the qibla to the other people while standing in prayer and constantly reminding the others of the right, direction, qibla and the path to follow. However, perhaps the most sincere and desperate one was Gülbin’s pleading call to her elder sister, who is a man of all ages, like “How can you lick the bottom of your feet, now that those who hit my pregnant mother’s stomach?”

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It was a scene that unconsciously opened the way for her daughter to live her dreams, and at the same time evoked a fantasy side, when the imam said “I wanted to hang in the dream world” in the conversation with his daughter Hayrunnisa after the death of his wife. In the end, both follow their desire.

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The character of Sinan is a person in which the life story of women somehow merges. We get clues that she is not covered and seen by her mother in her relationship with her mother, and she finally reminds her mother that her father loves the ground meat that her mother makes because she loves it. It was not in vain that Gülbin returned and took the toothbrush from Sinan’s house. The slippers and clothes of Meryem, who always has a place of her own in this house. Sinan is confronted with the reality that Meryem is the only person who remains as a fixed object in his life.

Although I think that the hijab characters are missing in the series, I would like to see it with a more realistic other role such as a therapist, Peri’s friend or Sinan’s lover.

In general, very striking and successful approaches to the suffering and predicament of all classes have been reflected. I hope this will be a step where we can all take a deeper approach to our reality, understand the other and share in our pain.

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