The Role of Satire Programs in Israeli Society: Finding Light in Dark Times

by time news

2024-04-11 05:26:33

The history of the State of Israel is full of wartime satire programs, designed to help us all get through the situation. In the Gulf War there were “the evening world” and “this is that”. After Rabin’s murder, there was “The Cheeks”. And of course “a wonderful country” during the Second Lebanon War. Beyond the fact that they were loved by the Israeli audience, these programs also had a role – to relieve a little of the great stress, the fears, the primal anxieties, to use humor to try and find an outlet. Even if you can’t say that it will be okay, at least show how much, sometimes , even in the dark you can find a drop of light.

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The episode of “Wonderful Country” that aired yesterday came at a time when public anxiety is at its peak. You could feel her around you. In the news studios, in small talk, in the corridor, in the various feeds – fear was the main commodity we dealt with. And this was also the title of the episode (“The Panic Treatment Guide”) that appeared in all parts of the program. At the opening came the “Rumor Cabinet” skit – a table (which somewhat reminds of the family from the “How Good I Came Home” skit) where citizens sit and throw at each other the psychic rumors they receive from WhatsApp and the networks. A case where I actually saw people around me in this sketch – who among us did not know the man who told him that there would be a war in Autoto? The performance itself could have been better – but it was a perfect start to the episode.

Parliament of Rumors, “Wonderful Land” (screenshot: Keshet 12)

The first panel, almost as usual recently, didn’t really rise – but it had one clear highlight moment when Yossi Cohen (played by Sharon Teicher) arrived. He was presented as the opposite of the general panic that gripped the public – Netanyahu who was on the panel but not really present, Gantz Gallant and Eisenkot who were not even on the panel (their absence is probably the strongest statement), and Ben Gvir-Regev-Gottlieb who were presented as a group that would not succeed. In front of all of these stood Teicher/Cohen with the look of a man from a “Nespresso” commercial, a half smile and a feeling that we are all on a date with him. But the hope around this character is also disappointing. “Eretz” shows Cohen making the right moves, but not expressing anything meaningful, just a continuous teasing ritual for an answer that will not come. A not very hidden way of “Eretz” to signal to us – this is not an alternative.

We already had one. Yossi Cohen/Teicher, “Wonderful Land” (screenshot: Keshet 12)

The figure of Maayan Parthi – who only buys more, when Shiron Bar Dayan from the Home Front Command repeats and tells her to calm down – was a clear symbol of the public feeling of the loss of trust. “Artez” did not tire of clichés – Iran’s Chief of Staff (who is actually Eliyahu Yossian with a different haircut), Netanyahu is at a loss and celebrates the fact that he is still in power, that’s not where the big news in the episode came from.

Eliyahu Yossian with Pia, “Wonderful Land” (screenshot: Keshet 12)

After the “more headlines” (which were particularly successful this time – perhaps because of the mental need for escapism), came the panel that once again illustrated the strength of this season in the entertainment elements. The panel of war singers trying to find the next hit – which included Ness Vastila, Yigal Oshri, Yasmin Moalem (a brilliant imitation of Shani Cohen) and Pnina Rosenblum who returned with “Where will you be on 8.5”. By the way, congratulations also on the return of the “yes, ha ha” line. we missed The songs they sang were also the message – all in the general atmosphere of gloom that we all know well. Yasmin Moalem who promises that “there will be ahhhhhh…”, Ness and Stila who announced that “all the medicines are ready” and Rosenblum who has already sung the next mourning song. In other words, “Wonderland” isn’t very optimistic about our future here either.

His sword drove away. “Wonderful Land” (screenshot: Keshet 12)

The crushing punch of the episode came at the end: it was in one frame that reflected reality much more than any of the six-year-old editions. Asher Ben Horin, the taxi driver played by Yuval Samo, started the war as the light and familiar character we all love – but this season he is going through a process. His corners in the taxi become of real journalistic significance. This time, he visited the abandoned Kiryat Shmona. Somehow, of all the satirical messages, the frame of Samo walking down an empty road, walking by an abandoned amusement park, was the truly painful moment. It was the moment when every viewer of the carnival of politicians and singers he has seen until now – is the vanity of the real world.

we missed Pearl Rosenblum/Mariano. “Wonderful Land” (screenshot: Keshet 12)

When Asher and his taxi meet the evacuees, or the abductees, or the residents who remained in Kiryat Shmona – you see on the screen the real results of this war. Those who are away from the spotlight and TV cameras most of the time. If “Wonderful Land” is the most powerful social seismograph – then this seismograph illustrated the deep sense of futility of these days. After all the criticism, the old satire show once again proved to be much more accurate than the news show that aired before it. “We still have a great country,” Kitsis said at the end. And in this “yet” we will only be left to hold on. Until sometime there will be ahhh.

#ahhh #great #country #true #results #war

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