Iris🇲🇽

[Jumex 🇲🇽🇺🇦 @jumets]

.@Uzaksehirdizi : Your Audience Is Starting to Lose Trust.

Dear @lerenlale and @cataykerem78,

So first: congratulations. Sixty-five episodes of more than two hours each is no small achievement. Convincing an audience to give that much time, attention and feeling to fictional people is even less so.

Which is why this seems worth saying: Uzak Şehir may be developing a credibility problem with its audience.
Not a crisis. Not a collapse. A trust problem.

If the preview means what it appears to mean, Episode 66 will contain Alya’s seventh attempt (if numbers serve correctly) to leave Mardin.

Seven attempts in sixty-six episodes. The first time a character runs, we ask why. The seventh time, we ask whether she has learned anything.

This matters because #UzakŞehir has asked for an extraordinary amount of emotional investment in Alya and Cihan while offering remarkably little sustained payoff. Their first kiss came in Episode 28. We are now at Episode 65.

In between, there has been violence, separation, custody, kidnappings, family warfare, secrets, Boran, Meryem, Mine and Ecmel. What there has been much less of is something simpler: a relationship.

Domestic life. Repair. Intimacy. Ordinary conversation. The occasional scene in which nobody is being threatened, removed, sacrificed or emotionally dismantled.

The audience does not need Alya and Cihan to be happy all the time. It does, however, need to know what happiness between them actually looks like. Otherwise suffering stops feeling like something threatening the relationship and starts feeling like the relationship itself. And suffering without payoff eventually becomes repetition -to say the least-.

The more interesting problem, however, is Alya.

The series is clearly capable of writing interiority. Nare is allowed to unravel, lash out, tell truths and be confronted by her own contradictions. Zerrin can cross a line, be forced to see what it may cost her, and alter her behavior. Cihan, once defined by emotional restraint, now simply tells Alya that he is furious.

Alya remains different.

Sinem Ünsal does a remarkable amount with expression, silence and physical reaction. We can see when Alya is hurt. We can see when something lands.

But too often the script still asks the actress to provide what the character is not given in words, it’s been going on since last season.

We know a great deal about Alya’s responsibilities. She is a mother. A doctor. A protector. A woman who solves problems and leaves when staying feels dangerous.

We know surprisingly little about Alya’s selfhood.

Who is Alya as a woman beyond being a mother, and a doctor?

These questions matter because the series now seems ready to present a harder Alya: “an eye for an eye,” “you were my teacher”.

But hardness is not development. Anger is not transformation. And cruelty, by itself, is not a phoenix.

We remember Ecmel threatening Deniz. We remember Cihan’s history with Alya and with that child. So when Alya asks Cihan how he differs from Ecmel, the line can work as an expression of her anger and subjective experience.

What the story cannot do is ask the audience to forget the difference.

Characters are allowed to misread reality. The script needs to know when they are doing it.

That distinction may become crucial now.

Because the most important thing that can happen to Alya is not for Cihan to stop her. Reality needs to stop her. Because she deserves her own arc.

For a long time, Uzak Şehir could rely on intensity. The audience would wait for the kiss, the confession, the reunion, the next secret, the end of the next crisis.

But patience is not infinite, and neither is emotional investment.

An audience will follow characters through enormous pain if it believes the pain is taking them somewhere.

What becomes exhausting is pain that keeps bringing them back to the same airport.

So this is not a request for less drama.

I am Mexican. I can handle drama. It is a request for payoff.

Let the relationship breathe. Let consequences alter behavior. Let characters remember what they have lived. Let Alya speak about herself. Let Deniz become a person rather than a justification.

And occasionally, let two people who love each other experience the radical narrative event known as having a conversation.

Your story already convinced the audience to care.

Now you have to convince them that caring will eventually lead somewhere.

I am from Mexico, a country that once wore the crown of telenovelas rather proudly.

Thank you kindly for reading.

@ayyapim @KanalD

[Nazlı @Alyacihan__]

Bundan sonra böyle😎

[Jumex 🇲🇽🇺🇦 @jumets]

Go Means Go — Until It Doesn’t, a roasty chronicle.

Before Episode 65, Alya and Cihan have finally told each other the same thing. They just got there by completely different roads.

There is something almost comically efficient about #UzakŞehir opening Season 3 by making Alya and Cihan spend an entire episode telling each other to get out of their lives.

Romance!

Three months after the wedding that never happened, Alya is sitting in a Budapest theater watching Blood Wedding, apparently ready to rejoin the living. The symbolism is subtle in the way a brick through a window is subtle.

Then, during the applause, Cihan appears

“Bravo.”
And leaves.

Which, to his credit, is probably the considerate version of suddenly materializing in front of a woman who once nearly collapsed after seeing her supposedly dead husband alive.

By the following morning, Alya is already on alert. Someone knocks at the apartment, Deniz runs toward the door, and she stops him. She does not know whether Cihan is outside.

That matters, because by the time they finally face each other outside Deniz’s school, Alya is not walking into a neutral conversation. Neither is Cihan.

She asks why he came.
Not for you, he says.

She points out that he was waiting outside the school, so naturally she assumed otherwise. He did not say that either.

Welcome back, #CihAl.

Alya immediately begins explaining Budapest. Deniz struggled at first. He adapted. He has a life here.

Cihan essentially tells her not to waste her breath.
He already knows.

Because, surprise, the man she thought had disappeared from her life has apparently spent three months keeping track of theirs.

This is also where Alya says she does not want him seeing Deniz because she knows what will happen if he does: Deniz will want to be with him.

That may be one of the quietest important admissions in the episode.

The child has a relationship with Cihan that exists independently of Alya’s conflict with him.

But there is no time to unpack that because Cihan wants to talk, Alya wants to talk right there, and then we arrive at one of my favorite territorial arguments of the episode. This is Budapest, not Mardin.

Cihan’s response, spiritually if not literally, is: Cute. I’m still Cihan Albora.

He is not a guest anywhere, apparently. Geography has tried. Geography has failed.

So off they go.

Alya complains because she has to get to the hospital. Cihan already knows what time she has to be there. Normal divorced-people behavior.

He takes her under a bridge, which earns another complaint because apparently Mardin got mountains and Budapest gets infrastructure.

Cihan reminds her that she was the one who said this was not Mardin. Were they supposed to have this conversation in front of schoolchildren?

Fair.

Then Alya tells him not to get into a war of words with her and asks him to say whatever he came to say.

He does.

Deniz is going back to Mardin.
And this is where the scene really begins.

Alya does not simply disagree. She immediately reads motive into him.

-Are you okay?
-Have you lost your mind?
-You are angry.
-You are doing this because you are angry.
-You are trying to hurt me through my son.

Cihan tells her to calm down.

Naturally, she tells him she is calm.
Reader, she is not calm.

But the interesting part is not whether Alya has a right to be furious. She does. Cihan has just arrived in Budapest and announced a major decision involving her child.

The interesting part is that she immediately assumes she knows why he is doing it.

Anger.
Punishment.
Revenge.

Then Cihan says something that complicates that reading: Come with him.

And suddenly Budapest disappears.

Emotionally, we are back in Mardin.

Alya reminds him that she did go to him. She told him she was afraid. She opened her heart. She asked for protection, for refuge, for him.

And he told her to go.
The episode literally takes us back there.

Then returns us to Budapest.

That “go” is still sitting between them three months later.

But now Cihan introduces something else: Ecmel.

He tells Alya that Ecmel is interested in Deniz. That Deniz is the last remaining branch of that bloodline. That Ecmel’s people are already in Budapest.

Alya does not believe him.
More than that: she says he is lying.

She says he is trying to scare her.

She says that after dismissing her fear before, he is now using her son to create fear again.

And only then does Cihan give her one of the cruelest lines of the episode: No one is waiting for you to come back.

It hurts.
It is meant to draw a line.

And it comes inside an argument that was already escalating long before he said it.

That distinction matters.

Because Alya does not become upset because Cihan says no one is waiting for her. She is already angry, defensive, suspicious and rejecting what he is telling her.

The line deepens the wound.
It does not create the entire scene.

Then comes the information Alya did not have.

Cihan has been in Budapest for three months.
He erased her records.
He hid their tracks.
He has been protecting them.

And Ecmel found them anyway.

That is the point where Alya’s plan for safety takes a direct hit.

Budapest was supposed to be the place where distance solved the problem.

It did not.

Her response is immediate: she will go to the police. She will change her name. She will disappear. She will run somewhere else.

Anywhere but Mardin.

Because Mardin, she says, is where she lost herself. She will not live the same story again.

This is Alya at her most understandable and, potentially, at her most dangerous to herself: when fear and control become almost impossible to separate.

Cihan asks if she really does not know Ecmel by now.
She does. But knowing her that does not mean she is willing to accept Cihan’s solution.

Eventually she tells him to leave.

"Cihan, go".
And he does.

Then Uzak Şehir, apparently deciding subtlety had suffered enough, and plays Sezen Aksu’s “Git.”

Go.
Of course it does.

Three months earlier in Mardin:
Alya, go.

Now in Budapest:
Cihan, go.

The symmetry is obvious.
The circumstances are not.

Cihan’s “go” came after Alya left, missed the wedding, and returned after everything had already collapsed.

Alya’s “go” comes after Cihan reappears, challenges the safety she built in Budapest, tells her Deniz is going back to Mardin, and refuses to become the man she expected him to be in that conversation.

They have now both told the other:
You are outside my life.

Whether either of them actually believes that is another question entirely.

And perhaps that is the real setup for Episode 65.

Not who was right.
Not who suffered more.

Not Team Alya or Team Cihan.

But what happens when two people who spent two seasons assuming the other would remain emotionally available finally discover that “go” can have consequences.

The official summary for Episode 65 already tells us Alya is heading toward a decision that may force her to confront her own conscience.

Considering where Episode 64 leaves her — frightened, furious, determined to remain in control and absolutely unwilling to return to Mardin — that should go beautifully. Right? #sarcasm

What could possibly go wrong?

See you in Episode 65.

-ps. The song is by Carin León and Alejandro Fernández, two mexican singers 🙌🏻🙌🏻🙌🏻. I've seen that they use it in Telemundo.

@Uzaksehirdizi @ayyapim @cataykerem78 #roast

[Stela86🇪🇸 @Stela861]

Avance 4 Cap.64 3T
Sub español
#UzakŞehir #CihAl
#OzanAkbaba #SinemÜnsal

[Nela @Nela_Nin]

The symbolism behind the Budapest and its connection with #CihAl + Deniz dynamic

The tripartite city: Óbuda, Buda, and Pest
Let me give you a bit of context for better understanding as I needed it for myself too. Budapest is fundamentally a unified entity formed from three historically distinct parts: Óbuda, Buda, and Pest.

Óbuda and Buda share the hilly western bank, directly contiguous and rooted in ancient stone, castle fortifications, and domestic enclosure. Pest sits across the Danube on the flat eastern plain, sprawling, commercial, vibrant, and administrative.

Connecting this topographical division to the family architecture reveals an interesting symbolic parallel:

- Óbuda and Buda (the joined pair: mother and child): Alya and Deniz share a contiguous, organic bond. Like the hilly side of the river where ancient residential roots sit quietly, their connection is maternal and immediate. They reside on the same side of survival, fleeing together to preserve a domestic core away from destruction.

- The Danube (the void and rupture): The wide water that separates Buda from Pest acts as the emotional gulf created by the wedding massacre and Alya's flight. It is the unbridgeable expanse of grief, mistrust, and silence that currently lies between Cihan and Alya.

- Pest and the Parliament (the realm of law, duty, and authority): When Cihan sits at the high arches of Halászbástya, his gaze looks directly across the river toward the illuminated Hungarian Parliament building. The Parliament represents institutional power, state governance, strict legal order, and heavy civic obligation. Cihan carries the entire architecture of Albora duty on his shoulders. Even when displaced abroad, his backdrop is not leisure or bohemian freedom; his gaze remains locked on the blazing seat of authority across the water.

Liberty bridge: Suspended over the chasm
The choice of Szabadság híd (Liberty Bridge) for their daytime encounters carries immense thematic resonance.

Liberty Bridge is a green steel suspension bridge, rigid and industrial, framing anyone walking across it inside crisscrossing iron girders.

When Alya walks the bridge alone, she seeks the literal meaning of its name: liberty, autonomy, release from patriarchal chains. She wants to cross over into a space where her choices belong entirely to her.

Yet when Cihan meets her along the water below the bridge, the metal structure turns into a cage of duty. As they stand on the banks near the water, Cihan tells her: "You come with him too".

The bridge is the only physical structure that spans the water, functioning as the contested corridor between them. They are meeting in the transit zone between two banks, neither fully in Alya's safe haven nor back inside Mardin's enclosure. They stand suspended over the void of their unresolved grief, negotiating whether connection is possible without one consuming the other.

Halászbástya: The fortified dissociation
Halászbástya (Fisherman's Bastion) captures Cihan's psychological defense.

The bastion is a neo-Romanesque fortress overlooking the Danube . Cihan positions himself in its high stone colonnades during the night.

Trauma demands vantage points. After surviving the sudden slaughter of his brothers and seeing his entire domestic life obliterated, Cihan's nervous system refuses ground-level vulnerability. By stationing himself on the heights of Buda Castle Hill, he achieves total visual command over the urban grid.

In the close-up and medium shots, the thick limestone pillars encase him. He leans his back against the stone, arms tightly folded, collar dark and closed.

The architecture becomes an extension of his psychological armor:
- it shelters his dissociation
- it grants him vision without proximity, letting him feel he is guarding them while sparing him the excruciating pain of direct rejection
- it establishes elevation as control

The visual contrast: Organic life vs. guarded stone
The trailer constantly contrasts Alya's spatial presence with Cihan's.

Alya moves through vibrant, ground-level street scenes: she walks through crowds near yellow trams, steps into the open warmth of Enver's restaurant. She occupies the living, breathing, kinetic ground of the city, attempting to weave a fabric of ordinary civilian life for Deniz.

Cihan, by contrast, is anchored to ancient, immovable stone. He occupies monuments of defense, parapets, and bridges. He doesn't blend into the cafe culture or the civilian crowd. He moves through the crowd with a rigid stride.

The trailer felt like a story itself.

The team fed our eyes with the pure cinema in the trailer. I have no idea if they had any intention connecting it with the Budapest architecture and geography, but in the end, I found this details beyond extraordinary.

Thanks to my lovely reader for giving me the hints of the Budapest and it's interesting thread which can be used in CihAl dynamics.

#UzakŞehir #SinemÜnsal #OzanAkbaba

[Stela86🇪🇸 @Stela861]

Segundo Avance 3T
Sub español
14 de Septiembre
#UzakŞehir #CihAl #OzanAkbaba #SinemÜnsal

[Uzak Şehir Dizi @Uzaksehirdizi]

#UzakŞehir I 64. Bölüm 2. Tanıtım

“Cihan yapmaz diyemiyorum artık. Cihan yaptı, yapıyor!" 🔥

3. Sezon ilk bölümüyle 14 Eylül Pazartesi 20.00’de #KanalD’de! 🪁

@ayna_yapim @ayyapim @KanalD

[TaTisLeyla @Soryole]

ya lo tenemos aqui!!!!!! gracias @Stela861 #UzakŞehir

[Uzak Şehir Dizi @Uzaksehirdizi]

#UzakŞehir I 3. Sezon 1.Tanıtım

“Burası Mardin değil. Burası Budapeşte!”❤️‍🔥

3. Sezon ilk bölümü 14 Eylül Pazartesi 20.00’de #KanalD’de! 🪁

@ayna_yapim @ayyapim @KanalD

[Gamze @Gamzeodabas7825]

OHHAA! 😱🔥 Bu ne, bu nasıl bir 3. sezon tanıtımı böyle?! 👀🤯

Gülizar, şaşırttın beni bak! 😂🔥 Cihan kaçırmış ya denizi! 😭😂

Daha ilk tanıtımıyla bizi şoktan şoka soktu! Dizi zamanı ne yapacağız, ben şimdiden bilemiyorum! 🤯🔥👀 https://t.co/pFrEX9Li7N

[Iris🇲🇽 @Irasema052]

no tenemos luz Colonia Enrique Rangel calle Alfonso Martinez dominguez, Santa Catarina nuevo leon desde hace 5 hrs
@CFEmx

[cottylu @lunadeandromeda]

Te juro por la memoria de mi niña que no voy a descansar hasta que estés tras las rejas"
Este es el grito desesperado de la madre de Beany, una joven de apenas 18 años que confió en la persona equivocada.
Todo comenzó la madrugada en que José Manuel Rubio Santini fue a buscar a Beany a su propia casa en el estado de Chiapas. Ella confió porque era su novio; él la sacó de la seguridad de su hogar y se la llevó en una camioneta sin que nadie se diera cuenta.
Para cuando su madre notó su ausencia en la madrugada, el presentimiento ya le quemaba el pecho. Le marcó una y otra vez a las 2:30 de la mañana, queriendo saber dónde estaba, pero el teléfono de su hija nunca respondió, y el de él, tampoco.
Desesperada, la madre salió a buscarla. Se comunicó con las autoridades y pidió un apoyo que le fue negado porque "no habían pasado las 72 horas". Recorrió calles a ciegas y no encontró nada.
Pidió ver las cámaras del fraccionamiento, pero justo cuando estaba por ver el momento en que salieron juntos en la camioneta... le sonó el celular.
En esa llamada le avisaron que habían encontrado una camioneta blanca abandonada con una persona adentro que presentaba un imp_cto de b_la. No sabían decirle si era hombre o mujer, así que corrió lo más rápido que pudo hacia el lugar:
"Por la mañana, la encontré atrapada en esa camioneta... ahí estaba mi Beany. Este maldit_ le había d_sparado en su cabecita y la dejó encerrada con los seguros puestos, ab_ndonada bajo el rayo del sol. Mi niña pasó 6 horas desangrándose, sola en su agonía, mientras él escapaba como un cobarde.
Luché junto a ella 11 días en el hospital. No me despegué de su lado, sosteniendo su mano con todas mis fuerzas, hasta que Dios decidió llevársela. Este malnacid_ me arrebató lo que más amaba en la vida".
Tras los hechos, la Fiscalía de Chiapas tardó 6 días en emitir la orden de aprehensión, dándole todo el tiempo del mundo para escapar.
"Yo les entregué absolutamente todo en sus manos: sus direcciones, sus teléfonos, sus datos... pero no lo rastrearon rápido. Él huyó y su familia no me dio razón de él. Según su madre, ellos no se hablaban desde hace tiempo, pero ella sí sabía perfectamente lo que había hecho este maldit_, porque se le salió decirme: 'no sé dónde esté, pero él ya está grande para enfrentar las consecuencias'. Sabía que lo estaba encubriendo. Seguí presionando, hasta que después de unos días todos sus familiares se fueron de Chiapas para protegerlo".
Después de un mes de impunidad, la Fiscalía de Chiapas por fin ofreció una recompensa de 500 mil pesos a quien brinde información verídica que ayude a dar con su paradero.
De acuerdo con versiones extraoficiales, se sospecha que el cobarde puede estar escondido en los estados de Veracruz, Puebla o la CDMX.
Hoy, la madre de Beany lanza un grito de auxilio directo al corazón de todos nosotros:
"Gente de internet, yo sé que ustedes no me conocen, pero hoy les pido con el corazón en la mano, como madre, que por favor volteen a ver mi caso. Ay_denme a darle visibilidad para que las autoridades hagan algo. ¡Él me m_tó a mi niña y sigue caminando libre, no es justo!"
Tras escuchar este desgarrador mensaje, les pido de todo corazón que se detengan un segundo, no sólo para difundir, sino también para elevar una oración por el descanso eterno de Beany, para que su alma encuentre la paz que le arrebataron aquí, y para que a su madre le queden fuerzas para seguir exigiendo justicia.

[Gwen Obradorista 🇲🇽❤️ @LichaWonderland]

💥💥RT Ayudemos a Irene 💥💥

Del muro de Auri León
Atención @rosaicela_ @mujeresgobmx

"Mientras todo México habla de Herdez por un vaso de cerveza en el estadio, la verdadera crisis de la empresa está aquí: mi hermana, la abogada Irene León Escamilla, lleva meses privada de su libertad tras ganarles un juicio laboral."

El caso de Irene no es un rumor de redes; es una realidad judicial que preocupa a activistas y abogados. Tras defender a un trabajador y obtener una resolución favorable contra Grupo Herdez, el caso escaló a la vía penal con acusaciones de fraude procesal.

🛑 A pesar de que se ha reportado el desistimiento de la acción penal por parte de la Fiscalía local, las audiencias se siguen retrasando, los trámites se prolongan y ella continúa en prisión preventiva sin un cambio de medida cautelar.

¿Hasta dónde llega el peso de un corporativo en el sistema judicial? Litigar no debe ser un delito, defender los derechos laborales tampoco.

🗣️ Ayúdame a compartir para que las autoridades federales volteen a ver las irregularidades en su proceso.

¡Exigimos debido proceso y libertad para la abogada Irene Leon Escamilla!

#JusticiaParaIreneLeon
#GrupoHerdez
#BoycottHerdez
#Herdez
#DebidoProceso

[Salvador Macías 🇲🇽🇻🇪🇺🇸 @smaciasr]

Ella es Judith Figueroa , una adolescente que desapareció en el country club de #SanCarlosPuebloMagico ayer, en la ciudad sin ley de #Guaymas gobernada por la morenista @karlacordova15 . Donde el jefe de tránsito te apunta a la cabeza por una infracción menor. Van mas de 113 cuerpos en fosas clandestinas localizados en los ultimos meses. Guaymas es tierra sin ley y la muerte es lo que reina en ese lugar.

[Ana Caro🌸 @CaritoMT_33]

🥺😢

[terefifas @terefifas]

En el momento no me enojé porque pensé que era parte del festejo, pero ya editando me di cuenta de que fue directo a mí. Real, ¿a eso van al estadio? 😐 Una vez mas se comprueba que el dinero NO DA educación. Sin palabras. 😶

[DRA. MERCEDES PAVON "SUPERMUELITA FIFÍ" @GARCIPAVON]

💔''No he dejado de buscarla ni un solo día''.
Han pasado años desde la d3saparición de Esmeralda Castillo Rincón, pero para su padre, José Luis Castillo, el tiempo no ha borrado la esperanza de volver a encontrarla.
Mientras muchas personas continúan con su vida, él sigue recorriendo calles, entregando volantes y levantando la voz para que el nombre de su hija no sea olvidado. Su lucha se ha convertido en un símbolo de amor, perseverancia y resistencia ante el dolor de no saber dónde está su hija.
José Luis ha dedicado gran parte de su vida a buscar a Esmeralda, desaparecida en Ciudad Juárez cuando apenas era una adolescente. A pesar de los años transcurridos, asegura que no descansará hasta conocer la verdad y volver a abrazarla.
“Un padre nunca deja de buscar a su hija”, es el mensaje que ha demostrado con cada paso, cada volante entregado y cada llamado a la sociedad para que no olviden a Esmeralda.
Su historia es un recordatorio de que detrás de cada persona desaparecida hay una familia que sigue esperando, buscando y luchando con la esperanza intacta de volver a reunirse con su ser querido.
✍️ Isabella Velis

[DRA. SUPERMUELITA FIFÍ II @GARCIPAVON2]

Difundamos, por favor 🙏

Solicitamos del apoyo, solidaridad y empatía para compartir la ficha de búsqueda de nuestros desaparecidos. Si alguien tiene alguna información verídica, puede ser una llamada anónima al número 6623-4156 16

✍️ Madres Buscadoras de Jalisco

[OctAvio Acosta @OctavioAcosta]

Abracé personalmente a la Sra Vanesa la semana pasada, quién busca a su Hija Amelí, es indescriptible el sentimiento de impotencia ante tanta arrogancia de un Gobierno inútil.
Por eso debemos unirnos todos los Méxicanos para exigir el fin de ésta Tragedia! 😥
Alcémos la VOZ!

[Diego Tonatiuh 🇫🇷🇲🇽 @diegotonatiuh]

Héctor Adrian Águila Contreras,
Chivabono : 6439857.
Estado : vigente.

Desaparecido en Tlaquepaque, Jalisco el 21 de julio de 2023.

Ídolos : Javier Chicharito Hernández, Héctor Reynoso.

Tu familia te busca Adrián.