Roi Bar Natan in the role of Miriam Feinberg, "Wonderful Land"/Kshet 12
There is a lot in common between an election period and a time of war, certainly much more than we would like to imagine - both have existed since at least the days of ancient Greece (around the fifth century BC), both begin (usually) with a small group of leaders working on a strategy that will move the masses to follow and cannot be forgotten Both of which involve a great deal of wallowing in the mud, whether physical or metaphorical.
When talking about television, one of the things elections and wars have in common is the fact that in both satire shows get a rare opportunity to use their power not only to laugh but also to bite, shake viewers and maybe even lead to a public awakening.
The program of "Wonderful Land" that was broadcast last night on Beshet 12, got exactly this opportunity - it stood at the crossroads between the ongoing war in Gaza and the elections for the local authorities that took place the day before.
It is evident that the most experienced writers' room in Israeli television, led by the celebrated commander/editor-in-chief Moli Segev, understood that he had an opportunity to write an episode that would leave a mark.
Did it really happen?
Not really.
Much has already been said about the way in which "Amazing Country", which regularly draws fire from the right-wing public for being too left-wing, actually normalizes Bibi's character through the eternal impersonation of Mariano Idelman, and in fact does wonderful PR for him.
Yesterday was no different.
The panel led by Kitzis opened with Bibi who, as usual, avoids taking responsibility and plays his favorite game: "I knew/I didn't know" (only a few programs ago he played "responsible/irresponsible").
To the credit of the writers of "Eretz", it can be said that they understand quickly when something works and reproduce it until it reaches its comic potential (and then continue until it stops being funny forever and ever).
At least in the makeup department (which really surpasses itself this season) Bibi is becoming more and more a crazy and detached leader with the dark circles under his eyes that are only growing and the hair in changing shades of purple that make him look a bit like a character from a Tim Burton movie.
like the real one.
The imitation of Yoav Kish/screenshot, Keshet 12
What could have turned into a biting piece based on the fact that the Prime Minister of Israel has been claiming since October 7 that it is not possible to hold elections now and at the same time holding elections for local authorities, was completely missed.
Instead, we were treated to a cute and bite-sized skit about the misery of our Minister of Education, Yoav Kish, who, according to reports, decided to cancel this year's Israel Prize only because it was expected to be won by the entrepreneur and high-tech man Eil Waldman, who opposes the Netanyahu government and whose daughter was murdered along with her partner at the Nova party.
Roi Bar Natan did what he knows how to do best and taught Kish to perfection until he was engulfed in his flattering and condescending character and combined with the legendary make-up department (yes, they deserve double praise), it was possible to get confused and think that they brought the real flatterer to the studio.
The biting satire was once again left aside in favor of a skit that is more than anything nonsense but managed to make it really funny thanks to Yaniv Biton's Ila Hasson who is without a doubt one of the best characters of "Eretz" in recent years.
Those who think that Beaton is making fun of Hasson only have to watch her show on Han 11 at seven o'clock to understand how much he is doing her a favor.
This is the stage when I finally understood that at the intersection between a kicking satire and an entertainment show, Moli Segev will always choose the second option.
And maybe even rightly so.
The placement of "Artez" as a flagship program on the leading commercial channel in Israel and the fact that it is the home of the biggest stars in the industry, is well felt.
This stood out especially in the taxi sketch of Asher (Yuval Samo) who hosted ultra-Orthodox passengers yesterday in response to the conscription law storm.
After the opening skit from a few weeks ago in which casualty officers knock on the door of an ultra-Orthodox man during a war and received a lot of criticism (among other things here in Walla! Culture), yesterday the ultra-Orthodox sector got an opportunity to improve its public relations with a series of passengers who boarded Asher's taxi and introduced an ultra-Orthodox Other: Contributing, aware, caring.
The truth is that the words said by some that the ultra-Orthodox should not be forced to enlist and that it should be allowed to come from them could and should have provoked a poignant discussion on its own, but in the end it was felt that this was the attempt of "Artez" to get along with everyone as it likes very much.
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Yaniv Biton doing Ayla Hason/screenshot, Keshet 12
The program ended with the new tradition of skits in English intended to help Israel in its advocacy overseas.
This time it was again the actor and comedian Michael Rapaport who has already become a kind of housemate in the show.
He came to a skit in which he hosts the upcoming Oscar ceremony and sends sharp and precise bites about the complete silence of Hollywood stars in the face of the events of October 7 and the presence of the abductees and abductees in Gaza for over 140 days.
This skit, led by Rapaport, whose good intentions are evident far and wide, will surely become a consensus among the Israeli public, but it is hard to imagine it becoming viral abroad. At best, it might win some headline on a news website. One of the reasons for this is that Rapaport himself has been a kind of cultural nullifier among large audiences in the United States since then His unreserved support for Israel is such that it's hard to imagine the audience there enthusiastically sharing a segment with his participation. In general, it's unpleasant to admit, but the English sketches of "Wonderful Country" remind me of the same sketch of the cheeky stuffed animal "Barkoni" in which she decries anyone who shares content in English on social networks to an audience of three hundred of his followers who are in Holon. These sketches are good and important, but in practice they are mainly a way for us, the viewers from Israel, to feel that we are doing some work for the sake of information but do not really manage to reach an audience that does not live here.
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Wonderful Country