Clarissima a day in the life of a tv’s Newsletter Number 4.


from Wikipedia:

"The Flammarion engraving is a wood engraving by an unknown artist that first appeared in Camille Flammarion's L'atmosphère: météorologie populaire (1888). The image depicts a man crawling under the edge of the sky, depicted as if it were a solid hemisphere, to look at the mysterious Empyrean beyond."

" The caption underneath the engraving (not shown here) translates to "A medieval missionary tells that he has found the point where heaven and Earth meet..."
Date 1888
Source Camille Flammarion, L'Atmosphère: Météorologie Populaire (Paris, 1888), pp. 163
Author Anonymous"

Clarissima a day in the life of a tv's Newsletter for the 12th & 18th of August of the year 2017.
& Includes a mention of the series Kacak, series One.

Previously unpublished Archive Material.

These Newsletters will detail the story of how exactly I ended up watching what I am watching now in the year 2018.
Clarissima the Scribe

The 7th day of June in the year 2018.
United Kingdom.
© Copyright 2018.  Clarissima.  All rights reserved.
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 Clarissima a day in the life of a tv watcher.London's Newsletters


For all those who thirst for knowledge and doth loveth the art of public entertainment throughout the lands..

Hear Ye, hear Ye, to all those who loveth the art of public entertainment throughout that lands:

Clarissima is the scribe who doth writeth the Newsletters from her crumbling  castle  where she doth watcheth the public entertainment for vieweth and doth write thereof.  

Such writing doth describeth these arts.  

All for the perusal of peoples who doth loveth such entertainment, throughout the close and far away lands. 

12th August 2017.

 So having finished Filinta and mourned, metaphorically briefly, for the loss of the immersively wonderful other world in time filled with style, suspense and Victoriana of every kind

 (plus romance, heartbreak, political intrigue and machinations aplenty) 

I wandered aimlessly around. In the deep recesses of Netflix and my every lengthening randomly added to list.
 Although I was aware that the next suggested series after Filinta, another Turkish, possibly gargantuan series, was beckoning to me appealingly.

From the bottom right hand side of the Netflix screen. At the end of Filinta. Finally.  Ertugrul: Resurrection it said.
 However the first twenty minutes or so of Resurrection was enough for me to realise that I had reached peak proselytising.  It's a shame, really it is. 

 Because I know how much I like long series.  As in super duper long.  You have a reliable story or drama.  To watch every night.  For absolutely ages. 

 There is a whole different and longer progression in the story and the characters: over time. You can get lost, I would have said quite literally. 
But clearly literally lost in that world cannot be true. But it feels like it. Metaphorically so. Ah well.
 However on the evidence of several episodes I made what I felt was a principled and protective decision.  
I had already done the whole officially evil Christian bit whilst watching Filinta. And don't even mention the Catholics. The favourite bete noire of them all: in dramas these days. 

 Whilst the other side are like a Disnified Snow White incarnate, half imagined tiny tweeting birds, circling like when Snow White was doing her housekeeping, all around their various heads. 

And particularly the hero.

And the magical supposedly sensitive mystic, that impossibly wonderful and loving hero meets along the way.
It's just a drama, I kept reminding myself whilst watching Filinta, whilst forcing myself to take not just one, but two (metaphorical & objective) steps back.

However:take away the likeability of the characters and I would award Filinta, if I was doing so: Propaganda points of 9.5.

However I have decided that one historical Turkish drama (pro-Ottoman and clearly anti-Western Christian) is my limit. I refuse to watch another one, particularly one which begins by portraying the Crusaders as Resurrection does.

I have checked. I am not the only one to notice this obvious bias in Resurrection.

Filinta has so many examples of this bias along with obvious proselytising that they are too numerous to mention here, but one just one example is the implication throughout that The Ottomans invented absolutely everything: 

"one thousand six hundred and seventy three"! as proudly claims a character of the number of his inventions at one point in the drama.

Much as I loved the series otherwise.

Take away the likeability of the characters and I would award Filinta, if I was doing so: Propaganda points of 9.5. 


18th August 2017.

Yep.  So sadly turning down Resurrection in spite of the glorious spectacle of multiple bearded variously handsome men dressed fetchingly in furs and bounding around on white horses, rather than become possibly brainwashed and or fully converted, I set off once again.  

Down those long and lonely, dark roads. Or rather rows.  Of series available on Netflix.
 It has been this way for me for a while now.  I no longer watch TV.  I guess I should change my name.  Of a TV watcher.  

But I ain't advertising Netflix instead.  Plus it probably wouldn't be allowed.  

 Let's think of it as dramas you watch on a television style screen.  How about that.
 Oh yes, I'm currently back on my latest Turkish Television series kick.  Hurray! No blood.  I can just shield my eyes from the fights.  
There is always emotion and intense, romantic scenes in Turkish TV series with accompanying admittedly loud emotional music.  
 In Filinta  I had to keep turning the sound up and down.  Which action had the unfortunate habit of creating a volume bar that blocked out the subtitles. 
 At the same time I am doing all this so I can properly hear the dialogue. Even though it's in Turkish. 
Which does sound a bit daft to relate.  I know.
 I would like to reproduce here, whilst clearly stating that the following phonetic reproductions of repeated Turkish words I have learnt: is done with a fondness and affection. 
Plus, please note they are spelt phonetically, not correctly, as in I am writing them just as they sound.  To me..

Avet: "Yes".

Aday: "Come/ go?".

Tamon: "OK".

Anay: "Mother".

Oblone: "Sister

Kazim/ kazeem: Approximate meaning "Dear, sweetie". Not cousin as I first thought.

Chook as in Chook, chook, chook : Much, many a lot really, very much".

Ashcarn: Welcome.

Yael!: Come in. 
This was my first favourite Turkish word in Filinta.  Used prolifically in series 1.  

Bak: But/ because.

Ah/ eh?  Said questioningly. Absolutely anything.

English translation: The Fugitive.

Series One.

In Turkish with English subtitles.

On Netflix in the United Kingdom.
Note. There are three series of Kacak however unfortunately only series One is translated into English.

 So did I mention that I am watching Kacak and that series is what I finally found in the dull corridor rows of the annals of Netflix. I love Netflix.  Netflix is the televisual land in which I now dwell.
 And Kacak is seriously good. And it just keeps getting better and better.  It's like the Turkish Godfather met Dirty Harry met a Turkish soap opera.  Of the very best kind.
 So I'm at the beginning of episode 42 now having had to forget the episode description because at some point they stopped making any sense at all.
At first i was thinking that they were super spoilery. And started worrying over the things that were going to happen.  But these things never happened. And names were linked and mentioned that hadn't yet appeared. Very odd.
 Either there was a mistake in the names in translation which seems unlikely or these are the episode descriptions for a later series.  
 Who knows.  Who cares. A similar thing happened with the Filinta episode descriptions too.  In Filinta's case they started lagging behind in time.  In the plot. And stayed the same for quite some time. 

No matter I didn't care.  I knew where we were in terms of the story. Although sometimes the episode description  pictorial still for the next episode: gave something away..
Here endeth Newsletter Number 4.

to be continued


All for the perusal of peoples who doth loveth such entertainment, throughout the close and far away lands.

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