To save content items to your account,
please confirm that you agree to abide by our usage policies.
If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account.
Find out more about saving content to .
To save content items to your Kindle, first ensure firstname.lastname@example.org
is added to your Approved Personal Document E-mail List under your Personal Document Settings
on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part
of your Kindle email address below.
Find out more about saving to your Kindle.
Note you can select to save to either the @free.kindle.com or @kindle.com variations.
‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi.
‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.
This essay examines the television viewing habits of Iranians since 2010, when the first of a series of crippling international sanctions were imposed on Iran after diplomatic efforts to curb the country's nuclear program stalled. Like many others in the region, viewers in Iran have been swept up by the recent wave of Turkish serials, which a new generation of offshore private networks dubbed into Persian and beamed to households with illegal satellite television dishes. These glossy melodramas provided access to consumerist utopias increasingly beyond the reach of Iranians living under the shadow of sanctions. Despite the enormous popularity of Turkish television imports with Iranian audiences, the Islamic Republic's networks managed to broadcast some successful “counter-programming” during this era of economic and political isolation. The comedy Paytakht/Capital (2011–15), more specifically, eschewed the glamour and glitz of many Turkish serials for ordinary characters living rather ordinary lives in small town Iran. In doing so, the series highlighted not only the problems that the sanctions regime created or exacerbated in Iranian society but also the virtues of remaining on the margins of a neoliberal global economic order. The essay concludes by asking how Iranian audiences might enjoy both Capital and Turkish melodramas simultaneously.