10 Best Turkish TV Shows Streaming On Netflix Right Now – TVLine

One of the greatest facets about Netflix, beyond its convenience, deep library, and contribution to the modern vernacular (“Netflix and chill,” anyone?), is its breadth of international content. From the Korean sensation “Squid Game” to the Brazilian true-story drama “Radioactive Emergency,” Netflix gives its American subscribers ample opportunity to travel across the globe from the comfort of their homes.

With that in mind, let us turn to Turkey. Whether you’re not as plugged in to the country’s popular culture, are a Turkey fan looking for a new binge, or are only familiar with the They Might Be Giants banger “Istanbul (Not Constantinople),” Turkish shows offer something new for hungry viewers, no matter where they’re streaming from. If you don’t know much about what it means to be Turkish, these shows will offer an interesting perspective.

So, let’s dive into the 10 best Turkish TV shows streaming on Netflix right now.

If you dig “The Morning Show” but wish it had more psychosexual thriller elements like “You,” “As the Crow Flies” just might be your next pulpy pleasure.

Lale Kiran (Birce Akalay) is one of Turkey’s most famous and beloved news personalities — so much so that hungry, opportunistic journalism student Asli Tuna (Miray Daner) is itching not just to work with Lale but to take her job, and even her life.

After the two have a chance encounter in a bathroom and Lale dismisses Asli, she puts the pedal to the metal, orchestrating falsified social media accounts to boost herself, take Lale down, and convince Lale’s editor-in-chief, Müge Türkmen (İrem Sak), that she already interns there.

Things only ratchet up in intensity from there, with “As the Crow Flies” flinging all kinds of twists, turns, and chaos at the screen. It all makes for a guilty pleasure of the highest order, a soapy maelstrom drenched in intrigue that goes down like the best beach read.

This curious genre-blender combines the ghostly shenanigans of, well, “Ghosts” with the lightly comedic mysteries of “Elsbeth” — and maybe just a dash of “Ted Lasso” for good measure.

“Bet Your Life” stars Ata Demirer as İsa Torabili, a beloved sports prognosticator who’s earned the nickname “İsa-bet.” Trouble is, he hasn’t made a correct prediction in some time, and he’s earning the ire of his readers, his loan shark (Beyti Engin), and even the ghost of his dead father (Altan Erkekli). What can he do to turn his luck around?

Well, it involves another ghost. Refik Argun (Uğur Yücel), a billionaire who was recently murdered, suddenly appears before İsa. He tells him that he knew his father and thinks he can help solve his own murder. Can İsa team up with this billionaire ghost, play detective successfully, and get his sports-betting mojo back? Or will he learn there’s more to life than guessing what team will win what match?

Based on the novel “The World’s Awakening” by Şengül Boybaş, “The Gift” is a quiet fantasy series that may remind some of “Outlander” or a gentler “The OA.” It’s character-driven, full of mystery, and strikes genuine awe in its viewers.

Atiye (Beren Saat) is an Istanbul-based painter who’s doing quite well for herself. She’s about to have a gallery show, she’s got a hottie boyfriend (Metin Akdülger), and a fashion designer sister (Melisa Senolsun). However, something is about to be uncovered that will upend everything.

And we mean “uncovered” literally. There’s an archaeological dig led by Professor Erhan Kurtiz (Mehmet Günsür), where an ancient symbol has been discovered. And wouldn’t you know it, this mystical symbol happens to be the same one Atiye has been painting her entire career. When she starts experiencing hallucinations and supernatural events, there’s clearly much more to uncover.

“The Gift” is a gift of a show, an intriguing watch with surprising maneuvers across its three seasons.

“Graveyard” is a gritty and exacting crime thriller and police procedural with a welcome focus on social justice in its explorations of criminal justice. It plays a little like the second season of “Mindhunter,” with its most effective episodes indicting the worst parts of society that breed these kinds of criminals.

Birce Akalay is back on the list, playing Police Chief Inspector Ӧnem Ӧzülkü, who’s in charge of a Special Crimes division that focuses on cold cases (which they colloquially call the “graveyard,” giving the show its bitter title). A disproportionate number of these cases involve violence against women, which gives Ӧnem and her team both a personal stake and a broader mission against the patriarchy that powers Turkish society. This also bleeds into Ӧnem’s interactions with her largely male colleagues and superiors, giving both her and the audience quite the queasy feeling.

Beyond the show’s more familiar cases involving murders, crimes of passion, and other acts of violence you’d see on “SVU,” “Graveyard” makes an engaging watch because of its emphasis on violence rooted specifically in Turkish society. Cases that involve religious “honor killings” and culturally stubborn men are particularly absorbing — and infuriating.

Take some of your favorite dystopian shows like “Silo” or “The Last of Us,” add in a dash of the indie horror marvel “Pontypool,” and you get the curious “Hot Skull,” a sci-fi thriller that’s much more than the sum of these influences. Its premise feels two clicks too unusual for American television, making it a must-watch.

Like many fictional dystopias, a mysterious pandemic has spread across society, ravaging our modern way of living and threatening lives across the globe. But it isn’t a superflu or zombie apocalypse. This disease, called ARDS, affects people’s speech and makes them spew unrelenting torrents of nonsense. Those who are afflicted are called, of course, “jabberers,” and any survivors are ruled by the newly enacted and pseudo-authoritarian group called the Anti-Epidemic Institution, or AEI.

But one man, Murat Siyavuş (Osman Sonant), seems to be immune, able to hear the contagious nonsense without being afflicted himself. When an AEI investigator (Şevket Çoruh) learns about Murat, he bucks the advice of his superiors to see if there’s an end to this epidemic.

“Hot Skull” is bleak but mordantly funny, a wholly original spin on one of the more familiar contemporary TV genres.

If you’re unfamiliar with Turkish culture and want a show that gives you a look at how its people really live, “Istanbul Encyclopedia” might be the edutainment you’re looking for.

The show, created by Selman Nacar, is based on an unfinished book called the “Istanbul Encyclopedia.” Partially written by historian Reşad Ekrem Koçu, this “Encyclopedia” aimed to gather as complete a view of Istanbul as possible, from its historical facts to its modern ways of life, including apocrypha and myth. Koçu only made it to the G’s, and now, Nacar has picked up his mantle.

The series stars Helin Kandemir as Zehra, a young woman who lives with passion, idealism, and yearning. It also stars Canan Erguder as Nesrin, Zehra’s older, wiser, and sadder relative.

As each woman explores her inner life through the lens of different places in Istanbul (with each episode named after a place or landmark), hearts, souls, and minds are opened for both the characters and the viewer. If you dig “Girls,” especially the relationship between Hannah and her mother, check this one out.

A clever, biting, and ultimately warm dramedy with shades of “Scrubs,” “Better Off Ted,” and the work of Yorgos Lanthimos, “Lovers Anonymous” is the perfect binge for the melancholy viewer, the broken-hearted, or the TV fan looking for something out of the ordinary.

In the world of “Lovers Anonymous,” love is a disease. Literally. Like, if you’re “in love,” you’re seen as possessing a sickness and sent to the Love Hospital, where healthcare professionals can cure what ails you.

This strange facility is run by Cem (Halit Ergenç), an eccentric genius whose poor relationship with love is rooted in watching his parents’ acrimonious divorce as a child. But Cem’s carefully curated world gets rocked when a new doctor comes to town.

Hazal (Funda Eryigit) is younger, happier, and much more in love with love. She’s actually trying to find her patients’ potential romantic partners — and if that wasn’t annoying enough to Cem, her dad is Cem’s boss, which basically makes her his boss. Can the two find enough common ground to work together? And will Hazal make Cem’s heart grow a few sizes bigger? You’ll have to stream to find out.

Based on a non-fiction book by Charles King, “Midnight at the Pera Palace” is a time-travel series with shades of “Outlander” and some of the most gorgeous production design you’ll see on TV today. Plus, it gives viewers the inside scoop on some intriguing, real-life stories from Turkey’s history.

In the present day, Esra (Hazal Kaya) is a young journalist hired to cover the 130th anniversary of the Pera Palace Hotel, a historic landmark in the Beyoğlu district of Istanbul. While there, Esra meets the hotel’s manager, Ahmet (Tansu Biçer), and some of the notable guests who have stayed there. She’s especially interested in the story of Peride, a young woman who, during Turkey’s occupation by Britain during World War I, saved Turkey’s president, Mustafa Kemal Atatürk, from assassination.

Well, Esra is about to live this piece of history firsthand. See, the Pera Palace has a room that functions as a time-traveling portal, and when Esra passes through the space-time continuum, she emerges in 1919 — and is apparently a dead ringer for Peride. Now, moving between past and present, she must make new alliances, reckon with romance, and prevent the assassination of Atatürk (Hakan Dinçkol) for good.

In 2008, Orhan Pamuk, a Nobel Prize-winning author, published the internationally acclaimed novel “The Museum of Innocence.” In 2012, Pamuk helped establish the real-life Museum of Innocence, a brick-and-mortar attraction you can visit to get a slice of Turkish life from the 1970s to the 2000s. And now, in 2026, you can watch Pamuk’s work adapted into a Netflix series.

“The Museum of Innocence” starts in 1970s Turkey and stars Selahattin Pasali as Kemal, a wealthy young man planning a marriage to his fiancée, Sibel (Oya Unustasi). But when Kemal meets Füsun (Eylül Kandemir) at a shop while buying a handbag for Sibel, everything changes.

Kemal falls deeply in love with Füsun, and the two begin a secret, volatile affair that changes everyone’s lives forever. During this multi-year dalliance, Kemal begins collecting objects that remind him of Füsun — physical reminders of a secret he tries to deny to himself and to Sibel. These objects make up the titular, and bitterly ironic, “Museum of Innocence.”

The show, cosigned and developed by the author himself, is an aching depiction of romance, betrayal, and modern history. It’s a must-watch for fans of weepies like “Normal People,” which would make a great alternate title.

There have been plenty of TV shows studying the male midlife crisis, from Showtime’s “Californication” to “Mad Men” to the aptly named “Men of a Certain Age.” But none of these shows are quite like “Wild Abandon,” a delightful and spiky dramedy.

Öner Erkan stars as Oktay Uysal, an Istanbul architect whose seemingly perfect life is slowly coming apart at the seams. His wife (Songül Öden) is stuck in her own crisis, his son (Umut Yesildag) is an angsty teen, his daughter (Nilay Yeral) is stealing money, and his boss (Haluk Bilginer) wants him to spend his talent and resources building a massive prison. What is this miserable man to do?

Become a punk rocker, that’s what. When Oktay revisits his childhood home and favorite bar, Fevri, he reconnects with the version of himself that rebelled against authority, did whatever he wanted, and played music loudly. So, in secret, he plugs back into the punk scene, trying to balance his “comfortable” middle-class life with this newfound freedom. How long can he pull it off before the walls come crashing down?