In the case of Aisha Barim, let's walk from the conclusion to the introduction.
Experts say, “Art is a way of expressing one's feelings, thoughts and inner world.
and restricting this process can have a profound impact on a person's mental health.” So creative
The prevention of expression can have serious psychological effects.
In Nietzsche's words, “Art makes the chaotic and painful nature of life bearable.”
An artist who cannot perform his art is deprived of this source of meaning and is in an existential
may face a feeling of emptiness. This can lead to hopelessness, loss of motivation and
can lead to depressive symptoms such as feelings of worthlessness.
The suicides of actresses Merve Kayaalp and Seda Fettahoğlu, monopolization in the sector, unemployment,
It has brought to light problems such as competition and nepotism that have not been voiced until now.
For years, the work traffic between the management agency, the casting director, the producer and the channel with the same actors in a narrow circle has made it difficult for the actors who could not get a place in the ID agency's cast, who stayed at home and took refuge in depression medication, to continue their lives.
The theater and cinema departments, which graduate dozens of students every year, have multiplied this congestion many times over. Players who were unemployed for a long time turned to other jobs to pay their bills. The fierce competition caused by monopolization in the sector has reached such a level that managers
to work as a casting director and to include their own actors in the projects they work on.
started. While this scheme made the producer's job easier, the problem of unemployed actors grew like an avalanche.
Wage inequality has created “the main boy and the main girl” who move up in class with each project. Professional ethics and team spirit were forgotten or non-existent.
The “main boy and the main girl” who talked about the difficult working conditions when astronomical stamps were on the agenda and who appeared during the Gezi protests ignored the injustice on the sets.
For whom are the sets actually difficult?
Hasan Karatay (2019)
Hasan Karatay, 28, who was working as a decor worker on the set of the Netflix series Atiye, was seriously injured when he fell from a ladder while painting. Karatay, who was hospitalized after the accident, died on April 9, 2019. It was revealed that there was no ambulance or occupational safety specialist on the set and that Karatay was employed without insurance.
Serkan Taki (2025)
Serkan Taki, a 43-year-old production supervisor who was trying to intervene in a fire that broke out in the mansion on the set of the TV series Şakir Paşa Aileesi on April 2025, died of a heart attack due to smoke inhalation. The DİSK-affiliated Cinema Workers' Union stated that the incident was caused by production companies' greed for profit and inadequate OHS measures.
Ertaç Sevim, Ömer Pektaş and Abdullah Pektaş (2012)
Ertaç Sevim (26), Ömer Pektaş (26) and Abdullah Pektaş (49), who were working as decor workers on the set of the TV series February, broadcast on TRT 1, had a traffic accident on their way back to Izmit on the second day of the holiday. These workers, who work for Eflatun Film, were working hard
due to the pace and lack of sleep, they had an accident and lost their lives. The incident occurred
as a result of long working hours (20-21 hours) and precarious conditions
evaluated.
Cengiz Demirağ (2019)
Cengiz Demirağ, a pickup truck driver working on the set of the TV series Kuzgun, swerved in Avcılar
was killed after hitting the concrete pillar of the overpass as a result of being squeezed by a throwing car.
lost his leg. Demirağ, whose leg was severed in the accident, could not be saved. Three people who caused the accident fled the scene.
Serkan Topal (2020)
25, who worked as a set assistant in TV series such as Poyraz Karayel and Hayat Yolunda in Bursa
Serkan Topal, a year-old man, was killed by the people he had a quarrel with over a debt-for-credit issue.
stabbed to death. An attempt was made to destroy his body by burning it. Beyond the precarious working conditions of set workers, this incident also highlights the social risks in the sector.
the workplace. Better planning and OHS measures to prevent set accidents and occupational homicides
and strengthening trade union rights is critical.
Although Ayşe Barım and ID İletişim have an important place in the Turkish entertainment industry, the conscience of the gap created by monopolization is a heavy responsibility. Management and casting directors require different specializations. Training and licenses should be mandatory and supervised for both.
Those who seek “justice” for Ayşe Barım should also seek it for the workers in the sector and shout out loudly.