The world’s current predicaments, technological advancements, wars, climate change, the grey face of politics, evolving social norms, what we eat, drink, wear, and feel, all influence what ends up on our screens. In a sense, these realities dictate the direction of TV trends. The first half of 2025 has been defined by wars, rising nationalism, injustice, the pursuit of justice, overwhelming loneliness, and economic crises. Naturally, this emotional climate was reflected in the shows we watched. Our emotional state dictated the narrative trends.
In Türkiye, 2025 was all about injustice, corruption, inequality, and economic crises. So audiences gravitated toward Turkish dramas that echoed these sentiments. Under normal conditions, economic crises usually increase interest in comedy because people simply seek serotonin. That’s true in Türkiye too! But since national TV channels didn’t produce much comedy, viewers turned to streaming platforms to have a laugh. What kept us glued to the screen this year was the search for justice, loneliness, and poverty. And the format used to explore these themes was family stories. Think of the family as a vast country, everything boiling over in the society found its reflection within households.
POWER VS. RESISTANCE: SAADET AND ALYA
Far Away, starring Sinem Ünsal, Ozan Akbaba, and Gonca Cilasun, was by far the most impactful series on Turkish television this year. The series is actually adapted from the Lebanese drama Al Hayba, which aired in 2017. However, screenwriter Gülizar Irmak reimagined the story by centering it around Alya Albora, a woman who marries Boran Albora from Mardin while living in Canada. After her husband dies in a car accident, she brings his body back to Mardin, where her journey to becoming a matriarch begins. With this adaptation, Irmak offered a matriarchal perspective on the patriarchal system. More precisely, the show presents a powerful dramatic narrative depicting the clash between East and West, tradition and modernity, the feminine and the masculine, customs and institutions, the powerful and the powerless, the oppressor and those seeking justice. In the story, the character Sadakat Hanım represents an authoritarian government fond of control, while Alya stands in the role of the main opposition.
While Sadakat normalizes holding onto power, yelling when things don’t go her way, and bullying, Alya stands as a symbol of change, modernity, and hope in the face of that oppression. Yet, neither woman fully realizes that they are, in their own ways, still serving the patriarchal order. As Cihan Albora maintains a balanced opposition between the two, the child, Deniz Cihan, who brings everyone together, continues to represent the promise of a hopeful future. Far Away has achieved double-digit ratings, a level no show had reached in years. Through the Albora Mansion and its family, the series continues to portray a realm to the audience, painting a unique picture of justice, impossible loves, dreams, and hope. Moreover, the show’s direction, with its dynamic camera movements, makes viewers feel as if they are right there in the moment. That’s what brings Far Away so close to its audience.
POWER, CHARM, AND NARCISSISM IN THE FALL OF THE KING
The Fall of the King was one of the most talked-about Turkish dramas of the season. Starring Halit Ergenç, already a major star both in Türkiye and internationally thanks to 1001 Nights and The Magnificent Century, as Kenan Baran, a man with narcissistic personality disorder. With Aslıhan Gürbüz, Merve Dizdar, and Nilperi Şahinkaya in the cast, this season focused on the charming, flirtatious, and charismatic side of Kenan Baran. He’s a star in every sense, used to getting whatever he wants, with women always ready to cater to him. Much like in the Magnificent Century, all the women in his life are aware of one another and locked in fierce competition. The prize? Naturally, being with Kenan Baran. This time, instead of period costumes, Halit Ergenç appears in a wig that takes two hours to apply, evoking a 1990s-style symbol of power. He is surrounded by men who idolize him, women who adore him, and people who compromise their morals to side with the powerful. As this “narcissistic king” continues to be romanticized, no one has the courage to call him out. However, the show makes it clear that the real story is only just beginning.
ESHREF RUYA TOPS THE RATINGS
One of the season’s undeniably most ambitious Turkish drama was Eshref Ruya, featuring a cast that includes Çağatay Ulusoy, Demet Özdemir, Ahmet Rıfat Şungar, Necip Memili, Tolga Tekin, and Büşra Develi. The story centers around Eşref Tek, who started life at a disadvantage as an orphan, and his friends, who all feel that life owes them something. While the show weaves in an impossible love story, its core theme is the pursuit of justice. Set within a triangle of mafia, police, and romance, Eshref Ruya lures us in with love but hits us with politics. The series boldly exposes power structures, drug lords, and the rotten elements within the police force. As Eşref falls for Nisan, he fears losing the only pure thing left in this corrupt world, Rüya, a name that also symbolizes his lost childhood. That emotional weight creates a deep sense of connection with viewers and pushes Eshref Ruya to the top of the ratings charts.
WHAT ELSE WE WATCHED IN 2025
Other notable titles of the year were Leyla, The Good&The Bad, and Valley of Hearts. All of them started strong but bowed out early, ending with memorable season finales. Meanwhile, 6 of Us told the story of siblings who rose out of poverty, and viewers didn’t abandon the show in return.
In the past, streets would empty when a primetime series aired each night. Today, if just two or three shows can create that kind of impact, the season is considered a success. While streaming platforms and on-demand viewing have made it harder for traditional TV to hold onto live audiences, it’s clear that television won’t lose its star power anytime soon. Like a beloved family member, it will continue to be a part of our homes, both now and in the future.
