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Precisely because the creators of "Wonderland" are geniuses, it is difficult to understand how they made this mistake

It is hard to believe that Molly Segev and his friends do not know that there is no connection between the funerals held last week in Jerusalem and the public represented by Aryeh Deri.

The choice to present Deri as responsible for the blatant closure violations was at best due to ignorance, and in any case was not funny

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• Wonderful Country

• Aryeh Deri

• Asi Cohen

• TV review

Living Room Fellow

Thursday, 04 February 2021, 08:32

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Police work, "A Wonderful Land", with Asi Cohen and Tamir Bar (Keshet 12)

"Wonderland" is signed by quite a few ripping imitations, huge original figures and tongues that have already become part of the language.

In many ways, however, the program's great success stems from the fact that despite its ratings and unlimited power, the program has refrained from becoming a neighborhood bully.

The satire of "Country" has managed to be penetrating and painful, but never offensive for no reason.

There are of course those who will disagree with this claim, especially on the right side of the political map.

Settlers feel they have been consistently dehumanized in the program, Bezalel Smutrich is certainly unhappy with the fact that a woman was chosen to play him (making this choice even more ingenious) and many have complained against the choice to present Naftali Bennett with tefillin-braided braids.

For many viewers this was really a red line crossing, even if the creators had no real intention of hurting.

"A genius makes no mistakes," James Joyce wrote of Shakespeare, "his mistakes are intentional, and they are the gates of discovery."

It's hard to argue with the statement that Molly Segev is a genius, probably inside the local swamp.

To hold for 18 years the most powerful entertainment TV brand in the heart of Israel's prime time, in the face of colossal forces that the average viewer is not even aware of, is a piece of genius.

The fact that despite the criticism (partly justified), despite political pressures and despite budgetary constraints - "country" still maintains stability in all indices in each of the three decades of the current century.

This is an unprecedented achievement in the history of Israeli television.

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There is something to grin at.

Mariano Eidelman as Netanyahu disguised as an ultra-Orthodox, "A Wonderful Land" (Photo: screenshot, Keshet 12)

Last week, "Eretz" was attacked again, this time by people who were harmed by Rabbi Kanievsky's imitation.

His followers were so offended that they did not even wait for the show to air at all.

The very idea of ​​imitating the "Minister of Torah" in the program has already insulted them to the depths of their souls.

In this case, the bully was the offended side.

The one who tried to use censorship.

The one who stated that there are things that are not laughed at.

In practice, although the screenwriters did not feel too sorry for Kanievsky, the joke was not really at his expense.

There was certainly no purpose in harming him.

He was introduced as the "prime minister" to ridicule the figure of Netanyahu, the criminal accused who begs the rabbi's grandson to help him bring some order to his public.

It was a tricky sketch for writing, and "Land" managed to convey their all-too-requested satire in a clever way, even if not particularly refined.

This week, after the mass funerals in Mea Shearim, it was only requested that the issue reach the Keshet satire factory again.

Whether this is a deliberate mistake or not, annoying gates erupted from the gates of discovery of "Great Land" yesterday.

The choice to attack the blatant violation of the law at the funerals of Rabbi Soloveitchik and Rabbi Shiner was the obeisance, but how does it relate to Minister Aryeh Deri's story?

Not that there are any completely unjustified reasons to attack Deri.

The corruption he was convicted of, the pathetic subservience to Netanyahu and the indictment that usually provide a beauty of ground for comedy - but the attempt to present his public as violating Corona's guidelines is simply a sin against the truth.

It’s hard to laugh at something when you know it’s based on a lie, one that hurts people for no reason.

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There is no shortage of reasons to attack Deri, but this is not one of them.

Yaniv Bitton, "A Wonderful Land" (Photo: Screenshot, Keshet 12)

The truth is that the Sephardic rabbis who are affiliated with Shas not only instructed the public to follow government guidelines, they also recommended extra caution beyond the law. Even before the government announced the restrictions, Rabbi David Yosef ruled that synagogues should be closed and ordered to pray in units. The truth is that the ultra-Orthodox-Sephardic public continued to exercise caution even during the period "between closures." There were no mass weddings or mass funerals, and in fact even when the law allowed prayer in the rabbinical quorum, they continued to hold individual prayers. fair when it comes in the context of a mass funeral, probably when the memory still resonates funeral corona modest former chief Sephardic rabbi, Bakshi Doron, attended by fewer than 20 people.

Do accession of Yaniv Biton staff expanded "Location" is the best things that happened to the program ever "Certainly. Is his imitation perfect in every way? Truthful and stable. Has not Aryeh Deri, one of the most powerful politicians in Israel, honestly earned half the criticism? An artist and an artist. The Haredi daemon "shown on secular television. To present Man

Hig Shas as responsible for the funeral of the Brisk storks is like introducing Shimon Mizrahi as chairman of Hapoel Tel Aviv.

Like presenting Avi Nir as CEO of a network. Like presenting Bnei Gantz as a leading candidate for prime minister. There are things that are not done.

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We were lucky to win.

Asi Cohen, "A Wonderful Land" (Photo: screenshot, Keshet 12)

This is mainly a pity because later in the episode, the people of Eretz managed to crack the issue of the selective enforcement of the Israel Police perfectly. The great sketch in which Asi Cohen educated Tamir Bar about the police becoming "gardeners" managed to capture the whole story. It was a delicate and calculated craft of thought.

It would have been easiest to present the police as a bunch of clowns at best or corrupt at worst, but “Country” decided to take the King’s Road this time. The cops in the sketch are portrayed as good people, ones who could have gone into high-tech and gotten drunk nicely but chose to enlist in the police to serve the community. Their innocence clashes with the "spirit of the commander," and they choose to ignore a gathering of an ultra-Orthodox group. Why do they have this rush? Without words, without imitations and almost without text: this short scene managed to hit exactly a point that hurts so many people, some of whom watched the episode in their hospital bed in one of the hospitals in Israel.

Instead of messing with the ultra-Orthodox crowds, the policemen drove to the Jaffa slope to deal with young Tel Avivians who spend time in the park with the breeze of the sea. This dissonance has been presented to us again and again in the news releases over the past week. The creators of "Eretz" could have easily flowed with the narrative of "bad ultra-Orthodox" and "good secularists," but the reality is more complex. Of course, the ultra-Orthodox could have been portrayed as vicious spreaders of disease that violated guidelines while the police chose to harass secularism - but that was too easy, and also did not really reflect reality. The Tel Avivites in the sketch were presented as real Israelis. They made excuses, refused to identify themselves and began photographing the police to bring the police to justice before the president of the important court in Israel - Guy Lerer, the moderator of the "Pipe" program.

This was another opportunity to thank all the supreme power responsible for the fact that we live in a time when Asi Cohen agrees to harness his talent for the mental health of the people of Israel. It is precisely in such a stressful and discouraging period that we need to stop for a moment and cherish the fact that we get to see new material every week performed by the most talented playwright who has risen for the Jewish people since the passing of Shaike Ofir, and perhaps at all. Cohen's genius penetrates every line of his. The nuances in his face will one day become scientific research topics. Whether it is in the monotonous imitation that somehow manages to get better of Avigdor Lieberman or in the role of the Israeli policeman who continues to dream of the respect his American colleagues have. A day will come and the streets will be named after him, maybe he will still be immortalized on a banknote, and we get to enjoy it in real time. We won.

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