Following the unprecedented global success of the Turkish TV industry, the ruling party of Turkey (Justice and Development Party–AKP), which has been in power for two decades, has utilized television effectively to marginalize and stigmatize opposition while endorsing lifestyles and beliefs in line with its conservative, pro-Islam ideology. Recently, TV dramas that focus on religious doctrines and traditions and depict the clashes between conservative and secular factions in Turkey, such as Kizilcik Serbeti (Cranberry Sorbet), Omer (Omar) and Kizil Goncalar (Crimson Buds), have met harsh criticism and censure from various state institutions, governmental organizations and Islamic sects and cults that have organic ties with the government. While these dramas are critical of both secular and Islamic ideologies and established political and religious structures, they have been accused of Islamophobia and for insulting pious citizens. In this paper, relying on a political economy of media approach and critical discourse analysis of news in the pro-government and oppositional media, we explore how the government, state and pro-AKP media outlets use these three TV dramas in order to (1) stigmatize any content that addresses the suffering, spiritual confusion or abuse inflicted by religious figures and communities in the name of Islam and (2) attack and discredit culture industries that produce those dramas for being Islamophobic. This paper will also discuss the politics of stigmatization by investigating the mechanisms of insecurities, such as the loss of piety, and erosion of traditional Turkish values and sanctity of the family, evoked by the government and state institutions. We argue that the deployment of Islamophobia discourse contributes to the government’s efforts to shape television content in line with the AKP government’s conservative cultural policy agenda. Furthermore, the government’s targeting of the TV industry deepens the polarization not only between pro-Islam regime-loyalists and secularists but also among the TV production companies themselves in terms of their corporate identities and audiences they aim to attract.