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Then at the end of the commercial, Noa Kirl releases a disgusting and terrifying sentence

The new musical commercials of Bezeq and yes both take place in the age of the plague, but the real troubles are replaced by cute problems, nihilism and blatant disregard for the elephants in the room.

Meanwhile, the bitter truth insists on being exposed between the lines, even if for a moment on screen reality looks like a million dollars

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• Noa Kirel

• These are my blade

Nadav Menuhin

Monday, 01 March 2021, 08:29

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There is a lot in common with Bezeq Weiss' two new commercials: two successful young singers take a favorite song that got a twist to sell a fantasy about content (Yes Plus) or about access to content (Bezeq's router, which allows so-called fast internet).

More importantly: both commercials take place consciously in the Corona Age, under the "new normal" conditions - when everyone in the houses and streets are empty.

But these fantasies are desperate and full of cracks.

Even though they occur in the age of the plague, they present it as a beautiful age that is all about pleasure and indulgence.

The problems that have made the world lost, disintegrated and crumbled, they replace with a small problem, for which a small and simple solution is the one that will make our lives an idyll.

But they are making such a big effort to suppress what is really happening, that it is already sad.

Opens with the Noa Kirl Liss commercial.

The pop star walks her through the empty streets of the world's capitals, and sings a paraphrase of "The Ballad of an Azulai Cop."

The subtle melancholy behind the song about the time that passes without again, there is really no trace here (well, it's not that "Let the sunshine in" got the context it deserves).

The commercial undoubtedly takes place in the Corona Age - everyone is north of their homes all over the world.

But instead of empathy, the advertisers put a finger in Kirel's song: You are locked in houses, and you have nothing to see in contrast to us, Israelis with a Lis subscription, as if it were the tragedy.

"You have no Yes Plus - too bad, how do you enjoy yourself at all," she wonders.

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Beyond the upside-down world where Israelis are the ones who allow themselves to mock other peoples for dealing with the plague, the closing sting is already really nasty: Kiral walks around in what looks like Italy, one of the countries hardest hit by the corona, and sings "When you stare at walls, we have Yes-plus. And Vaccines ": Punch is horrifying, full of unhealthy arrogance and blindness to what is happening outside the four fords around us.

And what about Ella-Lee at Bezeq?

The name "Girls just want to have fun" by Sydney Laufer has become "Girls Must Have Wi-Fi Now".

Why do they have to?

Because they "work hard at having fun" on tic-tac-toe and Instagram, which is fine and even diligent.

Since it is so well made, you will all hum it forever.

Everything is perfect in this world - the costumes, the house design, the choreography and Gidi Gov of course - except for a small thing, something that bothers and prevents Ella-Lee and her friends from working - the stuck Wi-Fi, of course, the big problem of our time.

And again the repressed floats and rises to the top: "Now everyone works and studies at home," says the advertisement, but does everyone work at Ella-Lee's television house?

She seems to be the only one who makes a living (and no one learns, but in the corona year it's almost obvious): the mother is looking for recipes, and the father is playing on the PlayStation.

Beauty of unemployment, I wish for everyone.

This is what unemployment should look like on Instagram.

nastiness.

Noa Kirl (Photo: screenshot, YouTube)

The commercials starring Ella Lee and Noa Kirl tell us that except for all the trouble, our situation is excellent.

Has never been better.

They prove that even though the world has turned upside down, advertisers continue to make us believe that we are one purchase away from prosperity, happiness and fulfillment - if only we pretend that our and others' troubles do not exist.

It's not just a consumer culture decorated with pop - this is what nihilism looks like.

But the really interesting thing about these two commercials is that the realities in them raise their heads, oppose this story: the internet insisting on getting stuck again and again on those Lee, the bucket of water trying to throw at Noa Kirl in Trafalgar Square, or the unfortunate Italian shouting at her: "It's just TV" - These are reminiscent of the truth: with or without Yes Plus, with or without a new router, everything is stuck;

That families have difficulty operating from home learning if at all and work if at all;

That the capitals of the world are also closed to us together with Ben Gurion Airport, and even Kirel used a green screen to photograph them. And if so, to whom does it help that in the advertisements everything looks like a million dollars?

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