#Gülşah Hatun

[magnificentlyreused]

This brown and blue striped kaftan was first worn by as Hürrem Sultan in the sixteenth episode of the first season of Magnificent Century. It was worn again by Gülşah Hatun in the third episode of the third season. The kaftan is used again on an unnamed harem member in the thirtieth and Emine Hatun in the fourtieth episode of the same season. The kaftan was seen again on Şehzade Mehmed's wet nurse in the thirty-first episode of the fourth season.

The kaftan was slightly altered by moving the buttons to the right to create a new asymmetrical closure before it was worn again by Topal Pasha's mistress in the second episode of the second season of Magnificent Century: Kösem.

[hurremsultanns]

The dramatic irony and the foreshadowing here. Considering that she will attack Gülnihal thinking she’s Hürrem but Hürrem’s first thought is for her kids.

[mc-critical]

I know I'm retreading old ground here, but I'll always love Süleiman and Gülfem's little scene in E15, because it reveals everything about both Gülfem herself and her relationship with Süleiman now and going forward. Gülfem's role as a conscience in general and for Süleiman in particular emerges, since when his relationships with his women are put to the test, she is the person he turns to as the first woman he's possibly hurt, as the one embodying that distant past everyone seeks to forget but can't as it always resurfaces all over again (and it's sad and telling that she's remembered only in occasions like these). Gülfem as Süleiman's conscience builds off of Hafsa's, Ibrahim's, Mustafa's and Hatice's isolated moments where they've been consciences for Süleiman yet in this scene it completely distinguishes itself as more of a deeper conscience, privy to Süleiman's inner world in ways we don't know but they themselves do, wholly embracing this moment that's just between them both. But the more her view of what she experienced unveils to us, the more this privyness and understanding Gülfem has for her closest springs forth as the coping mechanism she's developed in order to deal with her circumstances - she loves these people so much, so they're by no means at fault, she is, something has to be missing with her in order for it that devasting end to have come forth (her loss has sadly done a number on her self-worth too: how could someone as ""average"" as her advice Hatice on what to write to Ibrahim??; how could someone as ""average"" as her not be at fault??). She clearly isn't over it (shown by her resentment that occasionally crops up especially in her dynamic with Mahidevran, but also a bit by some of her looks during Mehmet's naming ceremony), but she has to accept it, to go with the flow, to cling to fate and the might of Allah as well (her urging Hatice for them to pray to Allah for Ibrahim in E14, also "When we lost our children* at a very young age, I accepted it as the will of Allah."; it's fascinating how close this brings her to both Hatice and Mahidevran: all three of them lean on fate like that, but Gülfem has experienced something so irreperably final and severe that every sign of something good happening, she'll openly and gladly take it, so is able to see the silver linings in Hatice's experiences that Hati herself can not; both Mahidevran and Gülfem lean on Allah, but unlike Mahi who expects and strives for justice for her suffering that's supposedly outside of Allah, Gülfi lets it go and associates the suffering itself too with Allah, if not with herself), focusing on what she already has, taking it with full hands.

And since that entails the people she supports, the last idea of family remaining to her as SS is so unreachable, and she can't bear to lose them too, the only thing left for her is to love them and idealize them but in different ways and amounts due to her different relationships with them, thus creating a sort of a hierarchy of fondness and idealization: going from Mahidevran (who I guess Gülfem is in good terms with not just due to her good relations with Hatice, but also because she's gotten too used to her as part of the family as well; as an ally, a main part of Gülfem processing everything, so when another person like Hürrem appears who's likely to challenge that status quo, that calm Gülfi has absorbed, she stands behind Mahi, shown in E08; btw, Hürrem too may have also become quite a part of that fondness and idealization line later on, but more about that when I get to S04), to Hafsa (the mother figure for whose will Gülfem's respect is usually absolute), to Hatice (the companion she's closest to, so she's able to give her a lot more empathy and understanding), to finally Süleiman, the last pillar of that hierarchy precisely because he's so unreachable and so dear she couldn't express it until this E15 scene and even then not fully. Even if, along with her understanding of them, she can and has called out others when she feels they're unjust namely due to her fondness of them, Süleiman is completely idealized in her mind, put on that pedestal of everything Gülfem yearns for in her life, of the peace he currently emanates but hasn't gotten from any of his women in return according to Gülfem (and it's interesting that Hürrem comes up promising a calmness to SS after she returns from her exile the same episode). But he won't emanate it much longer and the more her loved ones become disillusioned with him and are then stripped away from Gülfem by him, she starts to notice it in ways she can't deny.

So it's perfect that this scene, the first one that directly verbalizes how much loyalty means to SS especially in terms of his women and presents Gülfem as the first such loyal figure, sets her up as the last and perhaps most striking opposer of that idea. Her final act of defiance only appears sudden; it was always meant to happen like this.

[julyzaa]

Whenever i feel down i just watch Daye Hatun slap Gülşah Kalfa, and it always makes me feel better.

The drama, the fabric moving with the elegance of someone dancing, and then just the Slap.

For context:

[gulnarsultan]

I received a request for Mehmet. But I think tumblr deleted the request. I hope you will like it.

" Scenario "

You were in Mehmet's arms. Honestly, being in this man's arms gave you both confidence and fear. You were the only Princess of the last Byzantine Empire. After Constantinople was captured by Mehmet, you were going to escape the city with your family. However, you were caught and dragged in front of Mehmet. Mehmet married you that day and made you his wife. A few months have passed since your wedding. Thanks to Mehmet, no one was teasing you or trying to harm you. The first day you arrived, Gülşah Hatun, Mehmet's first wife and the mother of his first son, treated you badly. However, she apologized to you not even a few hours later. This situation surprised you. What you didn't know was that Mehmet had ordered the servants to watch over you. Mehmet was like a proud and late lion. He only let his guard down around you.

[minetteskvareninova]

We didn't have a certified Minette's stupid Magnificent Century poll for a long time, so here we go.

To qualify as a MILF, one has to be a) female b) older, middle-aged at least (not necessarily a mother) c) considered sexy in-universe by at least one character (that is NOT a random rapist, sorry Gülşah, or their husband of 20 years, again sorry Hürrem)

The real contention is over the last point, a.k.a. which one is THE sexiest older woman in the show.

[parallellines]

Mehmed II Conqueror + consorts (pictures are for aesthetic)

Emine Gülbahar Hatun — was a favourite consort of Sultan Mehmed II. In most sources she is referred as non-muslim slave who was converted to Islam after her arrival to the harem. There is no agreement on her origins some historians think she was Pontic Greek, Albanian or lowly Slavic. She was the mother of the future Sultan Bayezid II and Gevherhan Hatun. She died circa 1492 and was buried in her mausoleum inside the Fatih Mosque next to her late husband.

Çiçek Yagmur Hatun — was a wife or consort of Sultan Mehmed II. According to some sources she could have been Turkish noblewoman or Serbian, Greek, Venetian, French slave. She entered the harem or married Mehmed at Constantinople and gave birth to her only son Şehzade Cem (Ottoman claimant Sultan) on 22 December 1459. It is not known the degree of influence she had during Mehmed’s reign or if she even was favoured by him. She died on 3 May 1498 of plague and was buried in Cairo.

Hatice Hatun — was a thrid legal wife of Sultan Mehmed II. She was a possible daughter of Zaganos Mehmed Pasha. In 1463 she became Mehmed's third legal wife. After her husband death she remarried with a statesman.

Sitti Mükrime Hatun — was a Turkish Princess and first legal wife of Sultan Mehmed II. Her father was Süleyman Bey the sixth ruler of Dulkadir State. When Mehmed turned seventeen he married her for political purposes. Her possible offspring is unknown. Due to her middle name Sittişah is sometimes confused with Gülbahar Mükrime Hatun another consort of Mehmed. She died in September 1486 and was buried in a mausoleum built inside her mosque.

Helena Palaiologina — was a possible wife of Sultan Mehmed II. Her entering the Sultan's harem is controversial and remain unconfirmed. She was a daughter of the Despot of Morea Demetrios Paleologos the brother of Constantine XI Palaiologos the final Byzantine emperor and Theodora Asanina the daughter of Paul Asan. Some rumors says Mehmed II asked for her after his campaign in Morea having heard of her beauty. Probably he never bedded with her because he was afraid she would poison him. In another case Helena was provided with a pension and large estate at Adrianople by the Sultan though she was forbidden to marry. She died of unknown causes in 1469 or 1470 in Edirne.

Gülşah Hatun — was a second legal wife or consort of Sultan Mehmed II. There is no informations about her origins. She married Mehmed or entered his harem in 1449 when he was still a Prince and the governor of Manisa. Shortly before Murad’s II death she gave a birth to her only son Şehzade Mustafa and followed him to Konya when he became governor of the province. She died circa 1487 and was buried in Bursa in the tomb she had built for herself near that of Mustafa.

Maria Hatun — was a consort of Sultan Mehmed II. Before she entered Mehmed’s harem she was a widow of Alexander Komnenos Asen. According to some sources she was judicated as the most beautiful woman of her age. Some historians claims she could be more likely Murad’s II concubine than Mehmed’s.

Anna Hatun — was a consort of Sultan Mehmed II. Her parents were Trabzon Greek emperor David Komnenos and Helena Kantakuzenos. The marriage was initially proposed by her father, but Mehmed refused. Nontheless when Trabzon was taken in 1461 Anna entered the harem and stayed there for two years after which Mehmed married her off to Zaganos Mehmed Pasha.

[magnificentposting-fabrizioart]

VERY IMPORTANT MATTERS

Top of Topkapi (Tier 2)

This is up to Episode 12 of Season 1.

If you don't see someone here, is because the Top 3 were in the previous poll.

No, Hürrem is not here either because so far she just doesn't register for me due to the character (this is not about the actress at all, btw, as isn't the rest).

Yes these are the valid(e) options.

Feel free and encourage to discusse btw.

Respect the hatunlar tho, of course, or Daye will beat you to death.

[reallifesultanas]

Family of Mehed II.

[magnificentlyreused]

This green gold dress was first worn by Gülşah Hatun in Magnificent Century. After her exit from the show, it was used again four in the third season. First on an unnamed harem member in the twenty-first episode, then on a guest of Hatice Sultan in the following episode as well as on Rakel Hatun and lastly on another unnamed harem member in the thirty-sixth episode.

[hurremsultanns]

And this is the moment that set Gülşah off.

[mc-critical]

E22 is certainly all about the deepest fears and suspicions of the characters related to belonging (or rather, NOT belonging) that accumulate through the whole episode (as it gets more and more likely for them to be fully realized), which in turn makes the jealousy and/or resentment within these characters grow.

Ibrahim starts off still ruminating on Beyhan's words from a previous event relayed to him through Hatice in the previous episode, so his fear is immediately established: the fear of his death coming forth regardless, and from the sultan's hands worst of all; of his place in SS's heart, in the family's hearts, ultimately always ending up shaky and temporary; of him being discarded and erased at a moment's notice; of him never actually meaning anything to anyone, thus he aims for the biggest sense of belonging out of everyone else here: SS is most valuable to him, of course, as this is his first bond in this foreign world, but that value and his approval also turn out predicated and empowered by the value and approval everyone else gives him too. As it all begins from the possibility of a future action of SS and his bad mood that could possibly mean anything in the next day, then it goes to Mustafa's opinion on Ibrahim's closeness to SS, and then it circles back to SS again as a reaction to Mustafa's reaction (hence the smallest recurring disapproval, as Mustafa's stance here is a continuation of Mustafa's remark in E03, means wide disapproval — this is why in Ibrahim's dream everyone is out there witnessing and almost delighting in his execution; even Hatice who is clearly sad, is portrayed with resignation, as if the execution is an inevitablity she has to accept and never go against - this is of course also informed by what Ibrahim has seen of Hatice so far, how she couldn't oppose SS's decision to marry her to Mehmet Celebi even though she loves Ibrahim and aches inside and always claims to not be able handle it if she loses him, so the only thing he can say and do is try to spare her the pain). Ibrahim has to fully belong in order not to be reminded of what he's lost before and what he can lose now, but his sense of belonging is so fragile that every little thing can create big, irreparable cracks, bringing him to realize that he never actually belonged anywhere and what's more striking, he has nowhere to belong now as he's lost everything. This is terrifying to him and he can't share it with anyone (not even Hatice could really provide him solace: she calmed him down a bit, sure, but she also related to Mustafa's motives - right on par with Hatice's theme of relating this episode - that perhaps meaning to Ibrahim that even she can't be reliable, that even she could turn her similar possessiveness against him, if she can muster to do even that), so he buries it deep - he is the only one who doesn't lash out due to his fear in this episode, but this sense of fear beginning with him colors the whole rest of the episode and remains an omen of what's to come next. It's this fear that will make him more offensive, more insistent to secure his position even more and remove everyone who stands on the way of that, even in this season finale.

Mustafa's fear is established by one event in this exact episode that puts him at odds with his brother more directly than ever before (there's a reason why this is their first lesson together): the fear of him not becoming a padişah; of him being replaced by someone else, and by someone else who he too loves worst of all; of his efforts not being recognized; of his father leaving him behind forever, not wanting him, not loving him anymore; of him not having the future he's been eager and preparing to have, what's his use if he doesn't have it?, in that case the only thing he can do is disappear, thus he aims for a narrower sense of belonging: he cares about the rest of his family, but his father's love matters to him most of all. He looks up to him and is inspired by him, trying his best to follow his example in order to be the best he can be. And he is constantly encouraged by everyone to be the best he can be, so when even the smallest threat to that come up, his whole self is challenged, so what's left is to lash out, to defend his beliefs and mindset, to make this fear known in order to evade it. He doesn't belong without his father's love that gives him all he craves. He can't belong if that isn't there. And his belonging predicates on him being prioritized at all times, as this isn't a place reserved only for him, it turns out; anyone can take it away. So Mehmet's assertion plants this fear, while Ibrahim's place next to SS confirms it (Mahidevran here, just like Hatice with Ibrahim, tried to comfort Mustafa by putting Mehmet's words into context as well to an extent, but Mustafa actually managed to ease up until the Ibrahim matter popped up), so Mustafa's reaction is precisely that kind of lashing out. The lashing out culminates the episode but there's some finality attached to it as well, as it is the last such clash Mustafa has with Ibrahim (with him realizing his mistake afterwards) - from that point on, they will fully be a source of support for one another. Even his jealousy of Mehmet that sets up the future becomes more restrained.

Gülşah's fear is established by a series of events in this exact episode, feeding into each other and fueling her at every turn: the fear of falling into disgrace alongside with her closest person, or on her own worst of all; of being scolded by both the person she loves and the person she hates; of being mocked and ridiculed; of being denied the agency to do anything about it, as everyone else overpowers her either by being above her or simply being the majority. Her fear seems the most driven out of self-preservation, not so much out of a desire to belong at first, however these two are interlinked for her as well. Her very survival is predicated by the most narrow sense of belonging: on her sultana, the only person who can give her any sense of belonging. Her job is being next to her, so she has to share her joys and sorrows, but she also gets her sense of respect and worth namely from that role, so she can't help but make these joys and sorrows her own. E22 is the first time this is challenged however, since we see her outside of her sultana for the first time, as even what she has to do due to her role as her servant (taking Mustafa from the lessons and defending him) and as a servant in general (bringing Mehmet to Hürrem), is challenged and that whole facade of respect from others due to her sultana is fully broken (even Nigar's threats and almost drowning Gülşah before are because of something Mahidevran's ordered and done, this here has next to nothing to do with Mahidevran) and then her own wishes to seek justice and accountability are uncovered, but the more her sultana seems to not join in, the more Gülşah loses every sense of belonging in each moment (the mockery of the girls of the harem is only there to accentuate that loss and reveal how alone she is) and the only thing she can do is desperately tie them to her sultana, to cling to her in order to convince herself of her righteousness, of how she hasn't lost her sense of belonging actually, isn't that right?? She has no choice: the disillusionment, the resentment only grow throughout the entire episode and she can't really share the full extent of her sorrow with anyone - even her sultana wants her to suck it and wait, but she's sick of waiting, of being humiliated, so she provides the final imminent lashing out of the episode, the one that sets up the future the most in terms of Gülşah's relationship with Mahidevran, as well as it sets up the main deal of the very next episode.

[awkward-sultana]

“Being a mother is an attitude, not a biological relation.” ― Robert A. Heinlein, Have Space Suit—Will Travel 

[okyanustakimavioooo]

Evlatsız olunur ama vatansız olunmaz

[malachitezmeyka]

It’s been 2 weeks since I finished Magnificent Century and I’m experiencing severe withdrawal symptoms