"Platonic" is a clever mockery of a fairy tale about love and the absurd, with subtle acting and humor with subtext

Kerem Bürsin, Öykü Karayel, and Gupse Özay in Onun Gelisi (2025)

Gupse Özay

Öykü Karayel

Kerem Bürsin

Nezahat and her daughters prepare to welcome the hotel&apos;s first paying guest in years. But there&apos;s more to the beguiling Kaan than they suspect.

Onun Gelisi

&quot;Platonic&quot; is a clever mockery of a fairy tale about love and the absurd, with subtle acting and humor with subtext

Screenwriter Gupse Özay&apos;s signature style-witty parody-is evident right from the opening. The plot is built on duality: on the surface, it&apos;s a charming resort story, but in reality, it&apos;s an ironic look at human weaknesses. I especially liked how subtly the theme of &quot;business versus feelings&quot; is handled: Kaan arrives with cold, calculating intentions, but the hotel atmosphere hints from the very first minutes that things won&apos;t go according to plan.

Kaan is a charismatic antihero with a disarming smile. Kerem plays on the edge of the grotesque: his character alternates between flattery and sarcasm, and then suddenly displays unexpected sincerity.

Gülten and Nedret are polar opposites: one is bold and straightforward, the other dreamy and cautious. Their rivalry for Kaan&apos;s attention is presented with a dose of self-irony, without excessive melodrama.

The Blue Moon Hotel is a distinct character in the series. Warm tones, vintage furniture, and flickering lamps in the hallway create a sense of frozen time. The cinematography skillfully plays with camera angles: close-ups of the characters&apos; faces emphasize their emotions. The musical accompaniment-subtle jazz with oriental influences-perfectly complements the atmosphere.

The jokes are straightforward (like counting Kaan&apos;s abs), but this is intentional. The series pokes fun at the stereotypes of Turkish dramas. Yet, the humor never crosses the line into vulgarity-the irony remains gentle.

Screenwriter Gupse Özay's signature style-witty parody-is evident right from the opening. The plot is built on duality: on the surface, it's a charming resort story, but in reality, it's an ironic look at human weaknesses. I especially liked how subtly the theme of "business versus feelings" is handled: Kaan arrives with cold, calculating intentions, but the hotel atmosphere hints from the very first minutes that things won't go according to plan.

Kaan is a charismatic antihero with a disarming smile. Kerem plays on the edge of the grotesque: his character alternates between flattery and sarcasm, and then suddenly displays unexpected sincerity.

Gülten and Nedret are polar opposites: one is bold and straightforward, the other dreamy and cautious. Their rivalry for Kaan's attention is presented with a dose of self-irony, without excessive melodrama.

The Blue Moon Hotel is a distinct character in the series. Warm tones, vintage furniture, and flickering lamps in the hallway create a sense of frozen time. The cinematography skillfully plays with camera angles: close-ups of the characters' faces emphasize their emotions. The musical accompaniment-subtle jazz with oriental influences-perfectly complements the atmosphere.

The jokes are straightforward (like counting Kaan's abs), but this is intentional. The series pokes fun at the stereotypes of Turkish dramas. Yet, the humor never crosses the line into vulgarity-the irony remains gentle.

Nezahat and her daughters prepare to welcome the hotel's first paying guest in years. But there's more to the beguiling Kaan than they suspect.

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