ince his caricature drawings and stand-up routines first brought him into Turkish popular culture in the 1990s, Cem Yılmaz has become nearly synonymous with comedy in Turkey. Yılmaz's ability to make millions of people laugh has brought him immense public admiration; as of this writing, he has more followers on social media platforms like Twitter than the current president of Turkey. A true multimedia impresario, Yılmaz has also built a successful filmmaking career as a producer, screenwriter, director, and star. No portrait of Turkish popular culture in the twenty-first century would be complete without Cem Yılmaz, though Yılmaz himself would not be who nor where he is in the media pantheon without the waves of production and stardom that set up the media landscape before his arrival. This essay will explore how Yılmaz has layered his own work over popular entertainment and media histories from both Turkey and Hollywood in order to produce resonant comedy and critique, focusing particularly on his recent film Arif V 216 (Kıvanç Baruönü, 2018), its various intertexts, and its sociopolitical context.