Loneliness, depression, gaslighting, environmental pressure, stressful mother-granddaughter, stationers, stingy, douchebags, disappearing men, producers of "Khatunami" - the depressing resume that every Israeli single woman after the age of 35 has to deal with raised to the new romantic comedy "Bloody Murray" yes.
After watching the five episodes sent for review, it can be declared as not a bad compensation for the frustrated Israeli single women, even if it is not so comedy and not really romantic.
I tried to remember when a proper romantic comedy was produced here, with an emphasis on late bachelorhood, and it only occurred to me "Love it hurts."
Maybe this is not a coincidence: since that success of Dana Modan and Asi Cohen, we have not seen a series about what bachelorette farms in our country have reached the age of bullying: "Are you alone? Why what is your problem?".
In the not-so-uplifting season of "Wedding," and after the investigation in which Eran Suissa (the writer of this paper) revealed that even in seemingly pure reality there are manipulative interventions in the lives of single men and women - "Bloody Murray" can close the issue of "late bachelorhood and its consequences."
Premiere of the series "Bloody Mori" // Reporter: Lee Moore // Photo: Moshe Ben Simhon, courtesy of YES
Mori (Naomi Lvov) and Dana (Rotem Sela) are a pair of deviants who live in a shared apartment.
The first is a screenwriter and field teacher, stuck on the ex who has a bar in Tel Aviv, and does everything to be pathetic about it.
Though he breaks up with her, she chatters around him and brings his bar hopeless dates.
The second, a doctor is no less stuck in shifts in the gynecology department, with each shift treating pregnant women reminding her that her biological clock works overtime.
As befits a romantic comedy, he deserves the tragic event of the series already in the first episode: a car accident with an equal guy that requires an exchange of details, and how do you always say in Hollywood?
"This is where things start to get complicated."
As mentioned, "Bloody Murray" is far from a comedy, it is devoid of really funny characters and includes some overly Sahi clichés: in one of them Murray, a screenwriter, who after a car accident exchanged details with an equal guy and then decides to write a script: Exterior.
a day.
Opening a laptop.
Too reminiscent of "Sex and the City".
Yawning.
Close the laptop.
Feels that the creator of Autumn Idisis knows the souls of her heroines (i.e. bachelorettes).
Mori and Dana are scratched from casual relationships, and both have marked "V" on every Tel Aviv creature: the Dushbagi bartender, the pressure of the wedding and the kids, and the nerd who is not in their league.
Idisis knows how to distill the small nuances in the stigma that every late single woman carries, and shatter her fantasy to the ground of reality.
The pleasant flash is a frontal confrontation with the Disney and Hollywood clichés that every princess grew up on.
When an unaware suitor of the league gaps between them tries to sell to Murray that Harry and Sally took 12 years to fall in love - she slaps him "I don't have 12 years to give!".
Even if you're not stressed about comedy, there will be two more issues hovering throughout your dating: Was another role for Rotem Sela needed on screen?
Bank advertisements, air conditioner, "Ninja" directive, series on HOT and another series on yes is not enough?
Another problem is the difficulty of identifying with the leading characters, when the two protagonists are played by Rotem Sela and Lvov, two actresses who turn heads, they can not really create identification with quite a few single women kissing 40.
If the claim towards "Khatunmi" and the like is that in most seasons the casting of bachelors moves on the broad axis of handsome Tel Aviv men from startups only, the bachelorettes in the Idisis series are castings too worth sitting and crying over Mr. Fate with old movies and cold pizza.
But it's enough to be picky, it's hard in the worlds of relationship and television anyway: maybe in the end it's an unpretentious series of girls who look at our country's bachelorettes in the white of their eyes and tell them: at 35 it's time to compromise, even on the romantic comedies you see.
Were we wrong?
Fixed!
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