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What is the secret of the success of the Turkish soap opera?

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Turkish soap operas continue to sweep the small screen. Beyond the streaming, the pandemic and the realities, the Turkish productions that Telefe puts on the screen, throughout its entire grid, seem unstoppable. One of them, fugitivein full prime timeis located daily between the most watched programs on open television.

Six months after its Argentine premiere, the Turkish strip that came to replace the smash hit of Doctor Miracle ranked third among all programs and specials broadcast in July, as measured by Kantar Ibope Media.

And apparently that’s how it will stay on this stretch towards the end, at the end of August, since this Monday the telenovela was the second most watched of the day, with 11.9 pointsin back of The Argentine Voice.

The Turkish soap opera features a victim of gender violence.  Photo: Telefe Press

The Turkish soap opera features a victim of gender violence. Photo: Telefe Press

There is no doubt that Turkish productions knew how to find a way around the melodrama genre, since, at any time and in various latitudes, they prevail in the audience’s preferences. What are the keys to this phenomenon of fiction?

The purest telenovela tone assumed by Turkish productions is, in large part, what guarantees their success throughout the world, and Argentina is no exception.

These productions that do not stop growing are taking the place of national fiction, which is generally missing on TV. And, above all, they rekindle the fire of that genre that triumphed in Latin America between 1960 and 1990, and which Turkey was able to appropriate, especially in the last decadeadding his own costumbrista tone.

In the mold of the soap opera

In fugitiveas in the other fictions that have already passed through the screen of Telefe as well as those that currently occupy the evening slot (Hercai, our eternal love, to dream of you Y Zuleyha), the story is very classic: an impossible love, class division, thousands of obstaclesoften tragic, until reaching the long-awaited happy ending.

The leading couple of Nefes and Tahir, in their final stretch.  Did love win?  Photo: Telefe Press.

The leading couple of Nefes and Tahir, in their final stretch. Did love win? Photo: Telefe Press.

Furthermore, far from current female empowerment, in general, the protagonists suffer some kind of mistreatment or are directly victims of gender violence. Almost all of these productions reach the markets of the Middle East, where many times the situation of women is far below ideal standards.

Nefes, the character played by actress Irem Helvacıoğlu in fugitive, it is the symbol of the woman victim of gender violence, taken to an extreme. Her story begins when she is sold by a human trafficking network and she becomes a slave of one of the villains of history, Vedat.

The character of Vedat, who literally physically and psychologically tortured Nefes for years, and with whom he had a son, has already died. Nevertheless, He is replaced by another villain, because that role is a fundamental part of any soap opera.

This Monday, August 1, "Fugitive" was the second most viewed of the day.

This Monday, August 1, “Fugitive” was the second most viewed of the day.

not all are villains

Tahir, the male protagonist, along with his brothers -heroes of the plot-, even with some somewhat macho traits (a reflection of a very traditional culture), they partially vindicate men in their good treatment of women.

In fugitive There was no lack of explicitly violent scenes, situations of abuse, sexual assault, beatings, verbal and psychological abuse that, on the other hand, are based on a true story.

The little sign superimposed on the screen with the legend “If you are a victim of gender violence, contact 144“, appears with unusual frequency in this fictiondue to constant situations of abuse experienced by the protagonists.

Less than a month from the end Nefes and Tahir are finally living their love story, and she became a reference for many women, victims of gender violence, whom she helps personally. In addition to raising Yigit, the son she had during her and Tahir’s captivity adopted as her own, they are expecting a daughter together.

The story, which was originally called Sen Anlat Karadeniz (You tell the Black Sea), had four seasons in Turkey between 2018 and 2019, with the same success as in other countries, in addition to consecrating actress Irem Helvacıoğlu as a heroine.

Unlike the recent Argentine fictions (very few on open television, such as the first of us, which was installed comfortably), Turkish cans knew how to target a segment of the public who, due to his age group or his taste for melodrama, chooses these stories that seem to have come to stay.

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Reference from clarin www.clarin.com

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