As Western media outlets, particularly The Economist, intensify their criticism of Türkiye, it's crucial to understand that these criticisms aren't simply observations — they serve a strategic purpose. Operating within democratic frameworks, these media entities frequently distort Türkiye's political processes, using terms like "authoritarianism" to misrepresent the country’s reality. A case in point is The Economist's article, "A New Crackdown Is Gathering Strength in Turkey," which exemplifies this hypocritical approach.
Türkiye, with its growing media influence, independent stance in international politics and flourishing cultural production, offers a strong alternative to the West's one-sided narratives. However, this rise has provoked Western powers to discredit Türkiye, using media outlets as primary tools. Türkiye refuses to be confined by Western borders. Instead, it asserts its independence, forging its cultural narrative and shaping global discourse. The criticisms from The Economist and similar publications reveal the discomfort this transformation creates in the West.
In a recent article, The Economist accused Turkish prosecutors of targeting Ayşe Barım, a producer and a key figure in Türkiye’s entertainment industry, for her involvement in the 2013 Gezi Park protests. The report claimed Barım was arrested on charges of "attempting to overthrow the government," framing the legal proceedings as part of a larger effort to suppress political opposition. It is also noted that other key figures involved in the protests were summoned for questioning, portraying the judicial process as an authoritarian crackdown.
Discussions around monopolization in Türkiye’s media and entertainment sectors go beyond competition, representing a broader struggle for cultural hegemony. This is evident in the investigation into Barım, who was detained for allegedly orchestrating the Gezi protests and managing artists who supported the government's overthrow.
The Gezi Park protests, which began in May 2013, were sparked by a group’s opposition to the relocation of trees for the Taksim Pedestrianization Project. The protests escalated nationwide, targeting then-Prime Minister Recep Tayyip Erdoğan and the government. Although the protests were framed as democratic, the damage to public order and violence was largely ignored.
In contrast, when the U.S. Capitol attack occurred in January 2021, those responsible received long prison sentences, only to be released under Trump’s second term. Similarly, France justified police violence and mass arrests during the yellow vests protests as "maintaining public order." While these actions are labeled as "defending democracy" in the West, Türkiye's judicial system is labeled "authoritarian."
At this point, examining Ayşe Barım’s works is essential to understanding how cultural narratives take shape. After all, the Western perspective constructs its narrative by selectively framing political and social realities. This approach is particularly evident in analyses featured in publications like The Economist. Within this context, the following example is especially striking: Barım's casting in the TV series “Bir Başkadır” claims to reflect Türkiye's cultural diversity, but as seen in many similar examples, it reinforces a Western-oriented narrative.
The portrayal of conservative, hijab-clad women as traumatized, oppressed and ignorant contrasts with the idealization of secular figures as modern, educated and free. This framing reduces Türkiye's sociocultural reality to a Western-centric view of modernization, ignoring the country's unique transformation. Based on the assumption that true emancipation can only be achieved through secularization, the portrayal of women in the series does not consider Türkiye's diverse cultural context. This storytelling appeals to Western expectations rather than accurately portraying Türkiye's diverse culture and evolving social dynamics.
The central issue is the ongoing struggle over which values will shape Türkiye's cultural production. It is safe to say that key figures in the sector, such as Barım, have used their influence to undermine national and indigenous projects. The disproportionate criticism of domestic productions, such as TRT's series focusing on Türkiye's national narrative, exemplifies this ongoing struggle.
It is possible to read between the lines of Barım's influence on the series she manages and her efforts to construct representative characters who are alienated from the Turkish culture. At this point, it is a very serious and valuable struggle for TRT to present a TV series that provides an alternative with national and spiritual values to the decades-long monopolization of the Turkish TV sector by figures like Barım.
This double standard reveals the West’s discomfort with Türkiye’s growing cultural power. While the West continues to dominate global narratives, Türkiye is increasingly asserting itself as both a producer and consumer of cultural content. The shift away from Western entertainment monopolies is part of a broader movement toward cultural independence.
TRT’s domestic productions, such as “Resurrection: Ertugrul,” “Yunus Emre” and “Gassal,” offer an authentic reflection of Türkiye’s history, values and culture. These series resonate not only with domestic audiences but also with viewers from regions such as the Balkans, the Middle East, South Asia and Latin America. Their appeal lies not only in entertainment but in their representation of Türkiye’s cultural narrative on the global stage. By reflecting the rich heritage of the Turkish people, these series challenge the Western media's Orientalist approach. They help foster a national consciousness and create a counter-narrative that celebrates Turkish society’s resilience, solidarity and commitment to justice.
The “Knight of Literature and Art” title in France is often seen as a tool for cultural diplomacy, promoting discourses compatible with Western values. Cultural capital theories suggest such awards are given not only for artistic achievement but also for ideological alignment. Merve Dizdar’s criticism of Türkiye’s democracy and women’s rights during her speech at the 2023 Cannes Film Festival led to her being awarded by France shortly thereafter. Within the framework of cultural hegemony, examples such as Dizdar's and Barım's demonstrate how certain artists and producers are celebrated by the West through awards or news writing.
In contrast, TRT productions reflect Türkiye’s move toward cultural autonomy. These domestic productions challenge Western cultural norms and allow Türkiye to build its own narrative. This process strengthens Türkiye’s position on the international media scene, providing a platform for its national identity to be showcased globally.
As Western media continues its attempts to dictate the cultural narrative, Türkiye increasingly takes control of its own story. By producing content reflecting its history, values and identity, Türkiye challenges Western dominance and reinforces its cultural sovereignty on the global stage. TRT’s emphasis on historical accuracy, cultural authenticity, and national values provides an alternative to the hegemonic narratives imposed by Western powers.
With each new series and film, Türkiye is moving closer to realizing its vision of cultural independence. The country is reaffirming its role as a global cultural force, determined to tell its own story on its terms.
