The present text is aimed at analysing the way Can, one of the protagonists of the romantic comedy “Early Bird”,  comes to life thanks to the narrative strategies made by the director in the first episode of his work.

The analysis will focus on the quotation given and taken from the whole script. It will be the privileged means to understand why he is a protagonist, what his characterization is like and, last but not least, what possible reactions the audience may have while watching this specific part of the story.

The first striking element that captures the attention is that Can is introduced in medias res; this creates curiosity about his personality.

Indeed the reader understands that the strategy chosen is to have her/him learn about Can that has not yet appeared into the story by reference to his reputation among the agency employees.

It is needed a Guliz’s comment about Can’s decision to cancel the flight he would take that brings the protagonist to the forefront. As a result audiences’ interest for the character is simply gossip about him.

The director wants probably to focus the attention (or to chaw the attention) on the character’s decision about the agency that is undergoing a difficult stage because of an unknown spy that is called to unmask.

Ceycee is indeed confused and does not really understand Guliz’s point of view about the character. The young girl indeed makes some considerations about Can’s unusual behaviour so that both Ceycee and the reader come to understand that the agency is not the most suitable environment for him. She adds some nasty comments about him: she says he is “crazy”, “a wild man” and as for his skills in the agency she does not seem to trust him at all.

To tell the truth she believe he will bring the agency to a fast failure. At this point, the intelligent reader understands the director’s strategy to make Can the centre of interest: he has employed an indirect method to introduce the male protagonist; the watcher will be curious to find out more about him and to decide if Guliz is right or wrong about Can. It follows that the protagonist’s characterization is introduced through his reputation and what some characters in the agency think of him.
The technique of “showing” is particularly effective for the reader to make by  a personal idea about the protagonist because dialogue will show him in action and therefore the reader’s freedom is guaranteed.

Sanem, the female character, that is the protagonist of the comedy as well, also expresses the same curiosity about Can when she wants to know how Guliz knows Can will be the future agency boss.

This explains that the director’s decision to create expectations and suspense about the protagonist really worked since everybody wants ti know more about him. It follows that the exploitation of gossip helped both suspense and characterization.

Guliz’s answer to Sanem reinforces the idea Can does not seem to be considered a reliable person to be able to manage the agency, especially on a critical moment when what Mr. Aziz expects is to discover the spy that compromises the business. 

The characterization which by to now entirely depends on Guliz’s consideration about Can seem to become definite judgment because Sanem, who is naive and a newcomer in the agency taking for granted all that Guliz said and insists on express her instinctive dislike for the figure that has been outlined the agency. Her words “really highbrow”, “self-concerted person” seem to synthesize the more ordinary prejudices about the typical figure of a boss. The idea is supported by liar instinctive conclusion “All the bosses are like that”.

She also ridicules the boss using a language that parodizes some of the protagonist’s passions: wild life and animals. According to Sanem’s Comment (or consideration) he is one who get easily bored and plays with crocodiles and lions. Her language seems to diminish the boss’ personality. Her comments seem more appropriate to criticize the general considerations about bosses she believes are always rich and live a beautiful life.

Sanem’s naiveness prevents her form realizing the boss is listening to all her stereotyped comments but again this is a further strategy to show the character’s ration. Indeed Can does not seem to be particularly impressed by the young girl’s nasty comments and therefore the intelligent watcher understands the character shows self-control, rationality and at the same time seems not to be interested in people’s opinions.

Can’s first words are directly addressed to Sanem. He wants to know her name but he does not show any aggressive reaction towards the girl and therefore he seems less prove to prejudices towards people.

What seems interesting in this story is total lack of reactions in front of all the negative considerations mode. On the contrary he immediately organizes a meeting and uses the imperative to let the staff know that he has to give them important information.

On the contrary Ceycee underlines his efforts to let Sanem know Can come listen to every single word she said and now she starts working because she is agreed she could be fired.

Also the comments about the future boss underline how all the staff did not expect Can to be the future leading figure of the agency.

As one can understand such a comment raises the climax around Can that is at the centre of the attention and the intelligent watcher will therefore expect he will become the real boss in the comedy. But still the watcher cannot have a personal opinion  about him and that is why he wants to go on watching the story and gains a personal judgment Can’s personality gradually comes to life in his words during the meeting he has summarized. He speaks directly with very clear and short sentences that do not admit misunderstandings. He shows to have clear ideas, prompt reflexes and organization skills. Also is very stubborn and determined character: he knows what he wants and not accepts any compromise as the intelligent watcher can clearly understands when he asks for a Turkish tea.

Indeed he does not change his idea even when Mrs. Derain seems to flirt with him offering alternative drinks. His response is short definite and speaks with a determined attitude. Can’s mood and temperament comes to surface immediately when he informs the agency staff that his first intention is to find the spy that is leaking all the reserved information about the agency projects to Aylin, a previous employee. In this situation he speaks with decision and seems to have no insecurity about the punishment he will reserve to the spy. Can comes to life as a would be hero, with the necessary skill to refresh the agency name, as very self-assured character ready to take risks in view of the agency benefits and to tell the truth not even for a single moment does he seem not do feel at ease in the agency environment. It is as if he had always worked there.

Also when he speaks to the staff he shows the authoritative side of one who knows what to do: he gives  clear instructions to the staff and his speech is a briefing, not certainly a discussion that may admit different opinions and in short the protagonist closes the meeting.

The director has managed to have a character whose features have been formed ??? down.

From an initial impression the watcher is compelled to revise his initial idea thanks to the way the director has organized the scene. The use of dialogue has shown all the character of the agency in action so that the watcher from an immediate curiosity and ordinary gossip has been asked to draw personal conclusions about Can and in order to do that he has been asked to take into the consideration not only his reputation, but also some stereotyped prejudices that will be really  be desired of meaning once the watcher can take into consideration his actions that is his behaviour: serious, determined  skilled, hard working, well-organized and aware of what he is expected to do. He acts without  ??? not learning space to instructive reactions that could not also be justified since he has been criticized with  no reason but mainly on the bases stereotyped visions of the figure of the boss. His speech is clear, short and definite and so are his tastes: he does not simply like tea: he wants Turkish tea and that is what his tastes is like and he is not ready to be served anything different.

The intelligent watcher can therefore understand that there is much more in this character than what meets the eye. He sounds attractive even if you can’t see him in person. A further reason to watch the series on and find out.