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Home»News»Global Free Speech»Journalist Yelis Ayaz arrested in Turkey for ‘spreading disinformation’
Global Free Speech

Journalist Yelis Ayaz arrested in Turkey for ‘spreading disinformation’

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Journalist Yelis Ayaz arrested in Turkey for ‘spreading disinformation’
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Istanbul, May 20, 2026—Turkish authorities must release journalist Yelis Ayaz without delay and stop punishing journalists for doing their jobs, the Committee to Protect Journalists said Wednesday.

Ayaz, publisher and editor-in-chief for the local newspaper Aydınpost in the western province of Aydın, was arrested pending trial by a court on May 15 on suspicion of “publicly spreading disinformation” regarding reports on a politician’s son who was allegedly bringing weapons to school. A trial date will be set after the journalist is indicted.

“Yelis Ayaz’s arrest was the latest unfortunate link in the lengthy chain of journalists imprisoned under the pretext of spreading disinformation in Turkey,” said Özgür Öğret, CPJ’s Turkey representative. “Authorities must immediately release Ayaz, who was simply doing her job and didn’t cause any panic among the population by her reporting, as the law dictates is required to prosecute.”

Ayaz wrote a column on April 20 regarding the allegations, without mentioning whose son the student in question was. She was briefly detained afterwards but released after being questioned by a prosecutor, her lawyer said.

Aydınpost published a story on May 14 reporting that the underage son of Seda Sarıbaş, a parliamentary deputy of Aydın for the leading Justice and Development Party (AKP), was bringing a knife and a gun to school. In another column by Ayaz, published after her arrest, she stood by her story and said that multiple parents from the school had filed complaints about the student.

Sarıbaş said in a post on X on May 15 that she was targeted for “character assassination” by fake news, without mentioning Ayaz.

Introduced in late 2022, the disinformation law dictates that anyone found guilty of publicly spreading false information in order to cause concern, fear, or panic will face a sentence of one to three years in prison. While supporters of the legislation at the time offered reassurances that the law would not be used against journalists, it has since become one of the most frequently used laws against the media.

The Aydın chief public prosecutor’s office released a written statement on the day of Ayaz’s arrest arguing that the journalist’s reporting was untrue and that the complaints were about a toy gun brought to the school.

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The BBC clearly sees the value of television series That Mitchell and Webb Look. Marking the 20th anniversary of its original screening, the Beeb has re-released the series on iPlayer. But – and there is very often a “but” with these things – they’ve removed around 11 sketches from the BAFTA award-winning show. The official word is that these sketches don’t “work today”, which is polite speak for “they may cause offence”. The episodes singled out include scenes featuring a battle reenactment with characters in blackface, a contestant on a show wearing a burka and a lost tribe” in a garden centre. These sketches set out to challenge stereotypes, not to reinforce them; but 20 years on, this distinction seems to have been lost along the way. I’m a bit uncomfortable about this. I find it infantilising, to say the least. Can’t we trust audiences to make up their own minds, to switch off if they find the sketches in question unpalatable? Does the BBC think that we are just passive consumers, unable to disaggregate the mocking of racism from racism itself? These sketches set out to challenge stereotypes, not to reinforce them This act of censorship is distorting – of the shows, whose narratives and rhythms were built to include these sketches, and more broadly too. Conversations we were having 20 years ago have been erased, as if to suggest that they never happened. But they did! And with this erasure, the opportunity for thoughtful engagement and learning from our past is gone. “Let’s just pretend we were all lovely 20 years ago. It’s better that way” seems to be the message. Speaking as a minority myself, I find that knowing the nasty stuff that people said before – and indeed, still say today – is much more useful than pretending it never happened. This approach, I think, is also inconsistent. What it reveals is a cherry-picking (intended or not) of the groups that we can mock, and those that we can’t. Let’s face it, gender stereotypes are rarely deemed to have aged beyond the pale – if that were the case, we would have to wave goodbye to half the television made before the mid-2010s. Suppression like this sends a bad message to artists, namely that what they’re creating today may hold less value tomorrow. Or, even worse, that future audiences may deem them bigots – that Sword of Damocles hovering over the heads of any creative paying attention to the discourse of the moment. Suppression like this sends a bad message to artists The BBC’s decision reaffirms a broader trend. In 2020, Little Britain was removed from the iPlayer platform for similar reasons. It has since been reinstated – minus some sketches. Meanwhile, the UK’s arts space more broadly is seeing a retreat to the land of “safe”, as Index recently revealed in a year-long investigation into self-censorship in UK theatre. The BBC, it must be said, does remarkable stuff. The ongoing podcast investigation into the disappearance of US journalist Austin Tice is just one example. But this does not mean, however, that they don’t sometimes get it wrong. Chopping at That Mitchell and Webb Look is one example. Sure, the removal of the material isn’t the life-or-death story that Index often works on. Sure, Mitchell and Webb aren’t the faces of persecuted artists – they have huge platforms and agreed to the changes themselves. Still, one can’t help but think that the decision came from a place of conservatism, perhaps even fear. This is weak and dispiriting, indeed the very opposite of what enables creativity in the arts. We shouldn’t be encouraging this cultural timidity. Rather, we should harness culture and creativity as the starting points of a conversation about our here and now. That’s what the arts are for, after all. READ MORE

4 days ago
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