Contested masculinities and political imaginations in “New Turkey” and Çukur as authoritarian spaces of protection

Abstract Initially known as “the Turkish Godfather,” Turkish TV series Çukur (2017–2021) occasionally received criticism from government ministers and the government’s media regulatory board. This was surprising because Turkey’s and Çukur’s cultural universes converged around the masculinist protection of family and territory. So, why this political backlash despite the convergence? Wouldn’t that convergence of masculinity produce similar political imaginations? In this article we argue that in shaping the family and urban space, Çukur’s masculinities remain precarious vis-à-vis the hegemonic masculinity in “New Turkey.” Rather than being the society’s building blocks, Çukur’s families are suffocating spaces. At the same time, as opposed to cultivating neoliberal responsibility, Çukur’s familialism emerges as a space of solidarity in a precarious neighborhood to which state forces can hardly enter. Therefore, the neighborhood (mahalle) is not a space of consumption and surveillance but a haven against urban precarities. Despite their hierarchies and authoritarianism, Çukur’s men reject unquestioned political loyalty, conspicuous consumption, and entrepreneurship while endorsing the various impasses in family and urban life. Showing that absolute political obedience and economic dependence is not the only way out of neoliberal authoritarianism, Çukur confirms popular culture’s power in representing liminal spaces outside the state’s oppressive power and the markets’ commodifying logics.