First of all, I wasn't consuming narcissistic content after Phi, it had satisfied me, but this series caught my eye and I watched it thinking that I would watch it immediately during the day or two when I was sick, so that my pain would go away while watching cheesy things.
Let me start with the good parts of the series;
First of all, the cast is amazing in terms of roles and acting in terms of script. One factor that makes mediocre scripts still watchable for me is the acting's ability to convey emotions. The tailor was attractive in this sense. I started watching the series without any prior knowledge or ideas about it. At first, the retro feel of the series made me wonder "Is the story set in an old time?" It made me ask, and I understood the time later during a mobile phone conversation. Its nostalgic look determined the style of the series. The digital rendering of tailoring details is also fairly well done. Maybe the feelings of the fabric textures could also be described in those images, after all, for a tailor, not only the angles are important, the stance could also be imaginary, but since I had no expectations, it seemed acceptable. Some scenes were aesthetically pleasing, general lighting and sounds were good, emotions were fluid, and the reflections of emotions (psychological facts) in the scenes were nourishing both spatially and in the actors' clothing or in general atmosphere.
Let me continue with the mostly bad aspects in my opinion;
-Spoilers After-
I think most of the series show exactly what they are and where they are going in the first 3 episodes, so I watch the first three episodes with special attention and if there was no Dimitri character in the series, I don't think I could continue the series. At the very beginning, when I started to imagine the places where the scenario could go in the second episode of this retro-scented series, the critic in me started to search in my mind, "Which old Turkish Movie scenario is this?" Well, almost all of them, my inner voice replied... Rich kids, a poor girl who has no will of her own in life, betrayals of best friends on behalf of someone else, okay, it's full of clichés, and these introductions reveal the very end of the scenario, so you understand now. From here on, the story of the series is clear, so there is no point in starting to watch this series with its story, it is cliché anyway. Now let's see how it is processed and how the flow is achieved. After Episode 3, I continued my reflections. I especially really liked the scenes where the characters go back to their childhood. In terms of the script, the encounter with the wise old person and the lessons learned, the comparisons with the present were conveyed well, and I also found the child actors very successful. Despite this, the flow of the series was officially on the ground. The topics are discussed so superficially that we wonder "where did we get here?" that one can be astonished while watching. They will be perfect lovers, they are not the same right after, they quarreled at one point, they made up at the next moment, someone was irritated fastly, etc. In fact, the Firuze character of the series quickly changes to Esvet, then Mustafa, the crazy character, immediately stops saying "Firu" and starts saying Esvet. The characters had just thought about running away, but now they think about love. The character, who would have killed his girlfriend if he found out that she was cheating on him just yesterday, suddenly turns into a playboy and kills himself. But luckily there is that episode in the series, season 3, episode 7. Since it was like a Batman-Joker encounter, I took my core in my hand and faced it. I love the episodes of TV series where these good-bad-innocent confrontations are brutally made (see: Mr. Robot 407 Proxy Authentication Required episode). I mean, if it wasn't for this confrontation episode, I might not have found this series worth commenting on here, but the villain stood up and laughed, that was nice.
Now if I talk about this episode (which may be the best episode of the series should be reviewed separate)
Here again, we see that the actors play the written script very well, but for some reason we cannot see the details, fine workmanship and aesthetics in the general atmosphere of the series here. (which is the most striking, it makes you wonder why this episode, which will be the climax of the subject, is not taken care of so much compared to the rest of the series). The scenario is nice, it flows, the players enter the lair, they agree to play the game, because they felt guilt, we feel them, there again we witness the submissiveness of the Esvet character, two betrayers start the game against a tyrant. Of course, at the peak of tyranny, the tyrant stages the whole truth about the fact that he came to the point of killing his father, just as his father conveyed to him, by provoking him and punishing him, against the people he considers to be his friends and whom he said he would give his life for. "You're no good," he says, just like he's heard his father say a million times. The cowardly friend is still afraid until the last moment, fear is such a feeling because he cannot give the courage to talk despite the betrayal, but wait a minute. What has the Esvet character faced since the beginning, what has she experienced, she was bought, sold, raped, tortured, humiliated, used, not seen by her loved ones, unwanted, dragged, left insecure, but we cannot see the shadow of this character throughout the series, she is always submissive, always hiding. But they will die there, they will explode in 5 minutes, and she realized in the last 3 minutes that they will really die, she pulled a chair there and sat in front of them, I said huh, finally that shadow that has not appeared for 3 seasons will appear now, because the girl will die, she will die, she should be screamed the truth, but it doesn't happen... Ffffs... in fact she answers a question asked to her, she sits and waits for the question, by either shaking her head she answers, this is the feeling that comes out of her in panic before she dies, it is unbelievable.... So this is impossible, at least if that episode is special for Villain vs. Mr. Dokumaci, at least we could see something about the shadow of Esvet's character in the last episode, a rebellion of her soul, an awakening or... whatever, but the character's truth has been officially killed, her story is connected to the scene where she cooks eggs in the kitchen with her wealth after that nod... This shouldn't have happened, the character was wasted. These are the bad sides in such cheesy series. None of those characters existed in vain, and if creating a sense of completion in the audience is important for the viewing pleasure, attention should be paid to their "attachments" as well as the processing of emotions of their truths. The reality of Esvet's character is a lie, that is, she is too much of a character in the series to be real, so the ending of the series ends with a quality similar to the cliché of the script. Oh, and Dimitri is 100% preparing a death scene for himself, he even brought an imitation of the painting of the Last Supper of Jesus there. I expected to see very scary designs on the models there. You know, while waiting for Peyami, there was a dress he had made out of boredom from the tulle lying around, and I would imagine her dressing the models, whom he referred to as "silent spectators, witnesses" at his last dinner, with that class of quality. And the most striking episode of a TV series called "Tailor", there should be real crazy designs. We were able to see wedding dresses and groom's suits, that artistry... But it wasn't there in that episode.
In other words, the series has achieved very little that could be described as "just right". It's a series shot to keep the actors fed for their lives.
Let me start with the good parts of the series;
First of all, the cast is amazing in terms of roles and acting in terms of script. One factor that makes mediocre scripts still watchable for me is the acting's ability to convey emotions. The tailor was attractive in this sense. I started watching the series without any prior knowledge or ideas about it. At first, the retro feel of the series made me wonder "Is the story set in an old time?" It made me ask, and I understood the time later during a mobile phone conversation. Its nostalgic look determined the style of the series. The digital rendering of tailoring details is also fairly well done. Maybe the feelings of the fabric textures could also be described in those images, after all, for a tailor, not only the angles are important, the stance could also be imaginary, but since I had no expectations, it seemed acceptable. Some scenes were aesthetically pleasing, general lighting and sounds were good, emotions were fluid, and the reflections of emotions (psychological facts) in the scenes were nourishing both spatially and in the actors' clothing or in general atmosphere.
Let me continue with the mostly bad aspects in my opinion;
-Spoilers After-
I think most of the series show exactly what they are and where they are going in the first 3 episodes, so I watch the first three episodes with special attention and if there was no Dimitri character in the series, I don't think I could continue the series. At the very beginning, when I started to imagine the places where the scenario could go in the second episode of this retro-scented series, the critic in me started to search in my mind, "Which old Turkish Movie scenario is this?" Well, almost all of them, my inner voice replied... Rich kids, a poor girl who has no will of her own in life, betrayals of best friends on behalf of someone else, okay, it's full of clichés, and these introductions reveal the very end of the scenario, so you understand now. From here on, the story of the series is clear, so there is no point in starting to watch this series with its story, it is cliché anyway. Now let's see how it is processed and how the flow is achieved. After Episode 3, I continued my reflections. I especially really liked the scenes where the characters go back to their childhood. In terms of the script, the encounter with the wise old person and the lessons learned, the comparisons with the present were conveyed well, and I also found the child actors very successful. Despite this, the flow of the series was officially on the ground. The topics are discussed so superficially that we wonder "where did we get here?" that one can be astonished while watching. They will be perfect lovers, they are not the same right after, they quarreled at one point, they made up at the next moment, someone was irritated fastly, etc. In fact, the Firuze character of the series quickly changes to Esvet, then Mustafa, the crazy character, immediately stops saying "Firu" and starts saying Esvet. The characters had just thought about running away, but now they think about love. The character, who would have killed his girlfriend if he found out that she was cheating on him just yesterday, suddenly turns into a playboy and kills himself. But luckily there is that episode in the series, season 3, episode 7. Since it was like a Batman-Joker encounter, I took my core in my hand and faced it. I love the episodes of TV series where these good-bad-innocent confrontations are brutally made (see: Mr. Robot 407 Proxy Authentication Required episode). I mean, if it wasn't for this confrontation episode, I might not have found this series worth commenting on here, but the villain stood up and laughed, that was nice.
Now if I talk about this episode (which may be the best episode of the series should be reviewed separate)
Here again, we see that the actors play the written script very well, but for some reason we cannot see the details, fine workmanship and aesthetics in the general atmosphere of the series here. (which is the most striking, it makes you wonder why this episode, which will be the climax of the subject, is not taken care of so much compared to the rest of the series). The scenario is nice, it flows, the players enter the lair, they agree to play the game, because they felt guilt, we feel them, there again we witness the submissiveness of the Esvet character, two betrayers start the game against a tyrant. Of course, at the peak of tyranny, the tyrant stages the whole truth about the fact that he came to the point of killing his father, just as his father conveyed to him, by provoking him and punishing him, against the people he considers to be his friends and whom he said he would give his life for. "You're no good," he says, just like he's heard his father say a million times. The cowardly friend is still afraid until the last moment, fear is such a feeling because he cannot give the courage to talk despite the betrayal, but wait a minute. What has the Esvet character faced since the beginning, what has she experienced, she was bought, sold, raped, tortured, humiliated, used, not seen by her loved ones, unwanted, dragged, left insecure, but we cannot see the shadow of this character throughout the series, she is always submissive, always hiding. But they will die there, they will explode in 5 minutes, and she realized in the last 3 minutes that they will really die, she pulled a chair there and sat in front of them, I said huh, finally that shadow that has not appeared for 3 seasons will appear now, because the girl will die, she will die, she should be screamed the truth, but it doesn't happen... Ffffs... in fact she answers a question asked to her, she sits and waits for the question, by either shaking her head she answers, this is the feeling that comes out of her in panic before she dies, it is unbelievable.... So this is impossible, at least if that episode is special for Villain vs. Mr. Dokumaci, at least we could see something about the shadow of Esvet's character in the last episode, a rebellion of her soul, an awakening or... whatever, but the character's truth has been officially killed, her story is connected to the scene where she cooks eggs in the kitchen with her wealth after that nod... This shouldn't have happened, the character was wasted. These are the bad sides in such cheesy series. None of those characters existed in vain, and if creating a sense of completion in the audience is important for the viewing pleasure, attention should be paid to their "attachments" as well as the processing of emotions of their truths. The reality of Esvet's character is a lie, that is, she is too much of a character in the series to be real, so the ending of the series ends with a quality similar to the cliché of the script. Oh, and Dimitri is 100% preparing a death scene for himself, he even brought an imitation of the painting of the Last Supper of Jesus there. I expected to see very scary designs on the models there. You know, while waiting for Peyami, there was a dress he had made out of boredom from the tulle lying around, and I would imagine her dressing the models, whom he referred to as "silent spectators, witnesses" at his last dinner, with that class of quality. And the most striking episode of a TV series called "Tailor", there should be real crazy designs. We were able to see wedding dresses and groom's suits, that artistry... But it wasn't there in that episode.
In other words, the series has achieved very little that could be described as "just right". It's a series shot to keep the actors fed for their lives.