Bay Yanlış – Mr. Wrong
The return of Can Yaman and Özge Gürel
How easy it is to make criticisms when the aim is to cause harm. To an actor, a group of actors, a director, a writer or a production that offers work to many people. Once again, the Turkish press has been wielding heavy artillery, aiming at the one already in its sights and firing without taking the trouble to analyse and raise questions about a story.
How did they do it?
Let me tell you: they sat down in front of a computer, wrote ¨half the article¨ and then watched the first chapter. Did they have it written? It’s more than obvious. Do you doubt it? I don’t doubt it. In that first half of the article, they made superficial comments that they would later complete with shots or images isolated from the context and the text. But, did they analyze what this apparent superficiality represented? No, and if you expected that, let me tell you that you have been naive.
It is said that at a distance one sees things clearly, whoever subscribes, I, will try to do so with some prudent 13.522 km. Complete or incomplete, perhaps with more doubts than certainties, believe me that in 2 (two) hours of broadcasting, we can find many points to analyze. Here we go!
I’ll tell you, it happened… Can Yaman came back. Again, the press ammunition was loaded and without giving time for the story of the new series to develop, they dared to want to sign what appeared to be a Death Certificate for Bay Yanlış.
They have a fixation with the guy, worthy of dealing with on a psychoanalyst’s couch. I even think that the professionals, with this evidence, could expand the concept of ¨obsessions¨.
What did they expect? That he’d return in the role of a white-haired, arthritic, cane-walking old man? But, please! You, who are behind a desk and who have not been able to sign autographs around the world, forget for a moment your personal limitations and let the boy work on roles appropriate for his youth. He will already have the age and experience for other roles, in the meantime support people who work hard and prepare themselves with dedication for new challenges.
Bay Yanlış – Mr. WRONG
The title invited us to imagine that we would see a guy ¨wrong¨ as opposed to women ¨right¨. But if we analyze the first chapter, we can see that the story begins by showing with well marked EXTREMES the position of the male actors ¨right¨ (with exceptions) and women ¨wrong¨ (without exceptions).
It is worth emphasizing again that the profiles will highlight EXTREME characteristics. Why is this? Given this first question, we can assume that as history goes by we will be spectators of how these extremes will change in the presence of true love and personal growth, and this could be the way to accompany this change figuratively. Personal growth will be necessary, because here it seems that in the face of failure, the characters look for guilt, avoiding making a ¨mea culpa¨.
Start Bay Yanlış, showing us Ezgi (Özge) regretting, what would not be her first love failure, whom she dreamed of marrying. The girl prepared a surprise party for her fiancé, who arrived at the meeting he had unimagined, hand in hand with his lover.
Adding to the picture of supposed bad luck, she goes to work after having been crying for a while in the armchair, hoping to be promoted. Unfortunately, her meritorious years have been overshadowed by the last three months where sadness overcame efficiency, resulting in a rookie getting the position she dreamed of. Given the lack of recognition that ¨expected¨ was encouraged to be offended before her boss ¨wrong¨, who we understand pointed out the exit door.
One more? Yes, moments later, with the box of tools in hand, she was hit by a car while crossing the street with a lost look. The driver, ¨right¨, took her to the clinic where he was officiating as a doctor and made sure she was not damaged.
As if to put an end to this period of misfortune, she promises her cousin Cansu (Fatma) and her friend Deniz (Cemre) that she will never again have a relationship with an Wrong Lord.
Ezgi’s character shows naivety from one end to the other, with her clothes, her way of thinking, her way of speaking, her level of insecurity so much that she needs an audio to convince her to be who she is not and her fear of being reprimanded by her mother for not fulfilling the expectation of being married at her age. Also, in how she accepts without objection, to leave the apartment to the ex-boyfriend despite the fact that she paid all the expenses and even more so having a lawyer friend who could impose her stay so that he would be the one to look for another shelter.
Is ¨right¨ her attitude? I don’t think so, we’ll see later.
A genuine and imposing Özgür (Can) appears on the scene. A guy who gives us the impression of having everything under control and in order, from his physical condition, his perfect house, his spectacular restaurant, his vintage car and his motorcycle. Reinforcing this with an outfit that would like to show us some confidence as those who say ¨I do what I want¨. We could even appreciate some messages printed on the clothing and accessories.
Although later we will witness that the weaknesses are also part of his person and the armor will be falling. In contrast to this rigidity, the protagonist does not shy away from embracing his Chef (Ozan), whom he recognises for his excellent work, he will also offer to replace the Bartender (Anil) who with an attitude ¨right¨ will run into the arms of his girlfriend who is calling for him. As the minutes pass, we will see how, despite wanting to impose distance in moving situations with women, he takes a protective attitude with Ezgi, who after drowning her sorrows with a few drinks, fell asleep at the bar of the restaurant. And once again, sensitivity overcomes apparent strength, when he asks Ezgi to accompany him as a bride to a family event, in order to fulfil his mother’s wish and not disappoint her.
The first question that came to me when I saw how Özgür moved, you can’t expect it to be about Can’s muscles, I leave that detail to the Turkish press who found that to be the only content in the 2 (two) hours that the chapter lasted. I continue, when I saw how he was characterized I thought, what is behind this shell? Why is his strength and superficiality so marked? Could it be that he was different once and is afraid of being hurt again? We are probably dealing with a sensitive heart that hides a greater fear of everything it shows.
The characters of Ezgi and Özgür start to interact, they have the first meeting sharing a taxi, then in his restaurant and to crown the closeness they coincide being neighbours.
Özgür quickly takes an X-ray of Ezgi’s profile and offers to help her find a ¨Mr Right¨ and get married. He is very clear that the problem lies mainly in her attitude and expectations, he sees a change imminent, but Ezgi rejects his advice from the very beginning. Why does Özgür want to help Ezgi? Will he identify with her?
Now you may ask, why don’t I describe Özgür as a guy ¨wrong¨? I have two answers. If we start thinking about what it means to be ¨right¨ from a traditional and moral point of view, Özgür would not fit into the dream of those mothers who expect their 30 year old son to be already married, living by day and playing with their children. Apparently, this option is not on the menu, so I agree with the writers in calling it ¨Mr. Wrong¨. The second answer leads me to another title:
At first glance, Özgür interacts with girls with whom he spends a night, and the next day he sends them away, avoiding intimacy or emotional connection. But, did he promise them anything? No. He made 2 (two) proposals throughout the chapter, the first was to replace the Bartender and the second, to help Ezgi.
The girls in this series look like ¨live expecting¨ and when they see that their expectations are not met as they would like, they get angry and label the men as ¨wrong¨.
Check it out, Ezgi ¨expect¨ a boyfriend almost like he fell from the sky. She dresses beautifully, goes to a party where she will meet the Doctor, describes herself with characteristics that she would love to have, but that she does not have and without giving time for the boy to manifest himself, for example, if he likes women or not, she quickly proposes an intimate encounter for the next few days, ruining what could have been…
Cansu ¨expect¨ that her boyfriend (Gürgen) exteriorizes the love relationship they both have, introduce her to his daughter and formalize it.
The first girl who spends the night with Özgür, who only knows her name, wakes up the next day ¨expecting¨ to be treated as the lady of the house and made official as his girlfriend.
Yeşim, the journalist, who had exclusively professional contact with Özgür, managed to become intimate with him and as she did not obtain the exclusivity or the importance that ¨expecting¨, spitefully changed the wording of the note, calling him ¨Mr. Wrong¨.
The mothers of both protagonists (Lale and Feri), ¨expect¨ want their children to marry and have offspring, because they understand that they are at the age ¨right¨ to do so.
Deniz, the lawyer, cancels the friends dinner because ¨expect¨ a promotion more than anything else.
Gisem, the receptionist at the restaurant, ¨expect¨ that Özgür look at her with eyes of love.
And all the girls who come to the bar for a drink, give Özgür their phone number, leaving it to ¨expect ¨ for him to contact them.
Is it right to live on hold? Is it right to expect things in life to happen without making internal changes? Can we judge someone wrong without knowing them? Sometimes we say that things ¨happen to us¨, however we should ask ourselves ¨ why do they happen to us? ¨. And the answer is not luck.
There are many questions that wake us up with this new series that caught and impacted us from the first minute. But if there is one thing that is clear to me, it is that the adjective ¨wrong¨ perfectly describes the Turkish press that ¨misjudged¨ and hastily sentenced with detrimental intent a production of the highest quality at an export level, an acting work developed in colorful and sophisticated settings. But above all, to a funny, happy and romantic story that allows the viewer to be distracted for 2 (two) hours and that shows that love exists even if it has not yet found it.
At this point, I would also be naive to expect anything positive from the Turkish press in projects where Can Yaman is involved. But as hope is the last thing to be lost, I leave them a message:
¨No kill the youth, don’t try, may your God not allow it. Embrace the youth, value them, encourage them, congratulate them, treat them with care and avoid hurting them. Punish with criticism the delinquents, the rapists, those who unleash wars, not the young people who work and generate interest in their culture, in their products and who promote tourism in their country. And before you fire that bullet of evil, which goes beyond journalistic work, think about whether what you write will generate good or evil.¨