There is something rather interesting happening around Arafta right now — and, once again, I don't think the most important part of the story is happening on screen. GoQuest Media is heading to MIPCOM in Cannes, one of the industry's biggest international content markets, to promote its catalogue and pursue international business opportunities. Perfectly normal. Except for one detail. Emin Günenç and İlsu Demirci aren't going. And considering everything that has happened arou

What if I told you that one of the biggest debates surrounding Arafta has been based on the wrong assumption? For months, fans have been asking the same questions. "Who approved that poster?" "Why does the marketing feel so disconnected from the show?" "Has Sevda lost the plot?" Maybe...We've been asking the wrong person. The more I've watched Arafta evolve from a Turkish daily drama into an international brand, the more one thing has become impossible to ignore: this no long

Let’s be honest — Arafta is not suffering from lack of attention. If anything, it’s suffering from the exact opposite problem: attention without architecture. Right now, the series feels like it’s being carried on the backs of its leads and algorithmic momentum rather than a properly constructed, global-facing PR machine. And that’s a dangerous place to be if the ambition is “international phenomenon” instead of “regionally hot with occasional viral spikes.” Because here’s th