"The control tower with a crow as its guide can no longer chart a course for the future. They have long accepted that history has ended and their gods are long dead. Nothing is visible through their viewfinders anymore. The codes for the future are not in Zofia’s bag. The codes for the future are in the bag that Tomek clutches tightly in his lap, and we Kurd like all the world's others, know very well what is in that bag."

— Nurettin Erkan, GAZETE DUVAR Madison, Wisconsin, October 23, Friday 2020, USA


"The selection of a Kurd as the perpetrator of the rape, which is the main trauma in the series, while racism remains a primary issue in the country, is an undeniable contribution to racism. The creators of the series have either repeated the malice constructed by the Kemalist Republic’s memory on the Kurdish ethnicity or saw no problem in such an interpretation."

— Nurettin Erkan, GAZETE DUVAR Madison, Wisconsin, November 21, Saturday 2020, USA


"Like the skyscrapers in the life of the mighty, exaggerating the dimensions of everything and expanding their world makes their dominance unshakable. This is why dictators have palaces, and this is why public sculptures, like palaces and skyscrapers, also grow ever larger. The Egyptian pyramids are large and complex for this reason. The colonizer adorns himself with grandeur, one of the countless forms of making exploitation possible, and this is also his disease triggered by fear; he is a dimension addict."

— Nurettin Erkan, GAZETE DUVAR Madison, Wisconsin, August 30, Sunday 2020, USA