Man on Pause (Season 1) recap and ending explained: by Netflix Turkish new comedy of errors, Man on Pause (Andropoz), bears the style of being adapted from a well-written play, but it is not. It’s the story of a man trying to figure out if he has the audacity to embrace and explore change while constantly getting himself into weird trouble, thanks to his irresponsible impulses. Centered on a middle-aged man going through andropause and desperately seeking change, this show successfully incorporates several other interesting topics, both locally and globally relevant, and that without ever straying from the central theme.
Directors Durul Taylan and Yagmur Taylan gave us no heroes and instead gave us an observation of extremely flawed people with often very questionable morals that both get them into trouble and save them from it. Over the course of six episodes, this dark comedy delves into the depths of Turks from multiple socio-economic classes and their cautious curiosity about European culture seeping into their lives.
Man on Pause (Season 1) Recap
Yusuf’s (Engin Gunaydin) sudden passion for the pursuit of happiness causes him to rapidly change hair color, wardrobe, and personality, sending his wife into a total panic attack. His distraught wife, Meryem (Derya Karadas), seeks advice from her sister Fadime (Sebnem Hassanisoughi), a fortune teller. Fadime foresees an impending doom, causing Meryem to make sure Yusuf has cancer. Fear spreads through the family, and while their two children are already busy thinking about dividing their properties, Yusuf moves on with his life, joins Instagram, finds his dream home, and is very loving towards his wife. A bizarre evening with his alcoholic brother-in-law Halit (Tamer Karadagli), who is apparently just trying to get Yusuf to open up, ends with Halit “coming out” drunk and accidentally uploading the photo of Yusuf’s butt on his Instagram.
Things get crazier and crazier, hinting at the inevitable bad luck. Halit’s estate agent friend Kadir (Sencar Sagdic), an elderly alcoholic, suddenly dies in the car as Yusuf and his family drive to the mountain house they want to sell so they can buy the beach house. Undaunted by the bizarre death, Yusuf and Meryem remain steady in their mission and meet Svetlana (Yuliia Sobol), the girlfriend of beach house owner Mahmut (Turgut Tuncalp). The encounter touches on the theme of andropause when Svetlana reveals that Mahmut’s midlife crisis had led him to leave his wife Sahinde (Gulcin Santircioglu). The conversation, however, is interrupted when Sahinde shoots an arrow into the house, and even that doesn’t startle Yusuf and Meryem, still dazed.
Their future becomes even murkier when Yusuf is seduced by a young girl who happens to be one of Mahmut and Sahinde’s twins. Meanwhile, Fadime decides to divorce her abusive husband Halit despite the vile manipulations of Yusuf and Meryem. Upon learning that Fadime is pregnant with her lover’s baby, Halit attacks her and she ends up having a miscarriage. Mahmut pursues Yusuf, on the other hand, while neither of them has any information about the identity of the other.
Halit and Sahinde meet, and they hook up despite Sahinde knowing that Halit is an abuser. Yusuf and Meryem meet Mahmut on his huge yacht to discuss their desire to buy his beach house. Unaware that Mahmut is the father of the girl he is dating, Yusuf gives him a detailed description of the path to his mountain home. And luckily, Yusuf ends up running to the same place when Mahmut finds out that he was the one who has been with his daughter.
With Halit stuck in his car on the cliff, Yusuf hiding from Mahmut, Sahinde killing Svetlana in a rage, and Yusuf’s 15-year-old son Velihan (Ergin Torun) teaming up with his girlfriend to take over Yusuf’s store. ; everything is falling apart for everyone. Just as Yusuf is about to be incarcerated for talking too much when he’s supposed to be careful, an unsuspecting buyer takes the mountain house away from them, leaving them inexplicably hopeful again.
Man on Break (Season 1) Review
It’s easy for things to get out of hand when it comes to the comedy of errors. Absurdities come with the risk of not making sense. Luckily for us, that’s not the case with Man on Pause. Engin Gunaydin’s skillful writing manages to connect the dots of every hilarious quirk that makes the show truly hilarious. The tense air existing everywhere is never allowed to build up longer than necessary to keep things light. As the story branches out to explore other complexities that come with each particular character, it stays true to its original midlife crisis trope. The subject of andropause is taken beyond our advance; Yusuf subtly and cleverly introduces different characters with different symptoms.
Gunaydin’s performance as Yusuf is nothing short of remarkable. Although the storytelling sometimes lacks the intensity required for strange and often frightening happenings, the show remains interesting with its cast of fascinating characters, all well explored. Yusuf’s changes, in keeping with his age and the obvious middle-class traits he carries, are well communicated through Gunaydin’s comedic form and his writing.
Even at his bravest moment, Yusuf never crosses the line of credibility. Tamer Karadagli as Halit paints a perfect picture of a problematic and obnoxious drunk, frightening with his menacing impulses and benevolent with his help rooted in his toxic apology. Taylans’ show is a brilliant analysis of the discontent that all middle-aged characters face. Unlike most dark comedies, it’s never depressing because the humor is always lighthearted.
Man on Pause (Season 1) Ending Explained
The characters’ misfortunes are caused by a mixture of impulsiveness, rigidity and lack of attention. Yusuf being distracted by his love interest costs him a huge amount of money when Velihan decides to remodel his store and completely stage a lush grand opening. He is so recklessly oblivious to the events around him that he returns to the tiger cage. Held up at Mahmut’s yacht and brutalized, Yusuf’s life flashes before his eyes, and even after he runs away, he doesn’t become as sane as he should be. Mahmut’s pride, on the other hand, blinds him to the danger he should have seen coming. The twins being attacked by Svetlana’s brothers and scaring them away is an interesting observation of the influence of their badass mother, Sahinde, on them. While Sahinde is smart about getting rid of the evidence of Svetlana’s death, Mahmut is worryingly relaxed.
Halit believes that his spiritual depth has thrown away his earthly possessions, and he gives his house and car to Yusuf and Meryem before leaving for India. When Svetlana’s brothers approach Sahinde, she again shows her unpredictable presence of mind by blaming it all on Mahmut. Before being shot in the head, the expression on Mahmut’s face is one of utter indifference. His flippant treatment of the danger about to befall him was a subtle allusion to the unforeseen grief he felt. His generic attitude of an insensitive man prevented him from truly accepting that he loved Svetlana. And her death not only shocked her denial of him, but also made him suicidal.
After Mahmut’s death, the show receives its signature, controversial happy ending. With Sahinde inheriting her properties, Yusuf and Meryem finally get to buy the beach house, and Halit returns and joins Sahinde on the yacht, the show dismisses the expected conclusion of actions and consequences. Perhaps it is the proxy victory that the middle class is meant to feel. Yet there really is a dangerous satisfaction in seeing people get what they want as long as they possess the minimum of human qualities.