The “Tehran” series: Israeli nonsense sponsored by the United States

Psychological historians claim that nothing in the world of drama happens by chance. Among the curious who treat things as a product of specific socio-psychological climates at a given historical moment, television series – whatever their theme – remain in the final analysis the product of an elite that controls the cultural discourse of a society, and expression of the televised visual art tools of his ideological unconscious. Most of the majority have no escape from their tight networks, at least for those who do not dare to think outside what society considers the logic of “common common sense.” For example, they consider the “X Files” series as an expression of the Clinton moment (relative to President Bill Clinton) in the history of contemporary American society, while “Twin Peaks” is the son of the Bushy stage (George Bush the father), and “East Enders” is the story of the British middle class in Post Thatcher and so on.

Perhaps “Tehran”, the Israeli series that the “Apple Plus” platform chose as the beginning of its offerings of foreign (ie non-American) dramatic productions, is almost, with the difference in artistic level of the previous examples, a mirror reflecting the ambiguous Israeli society in the era of Netanyahu (the current prime minister) and more. It echoes the state of denial of the ruling Israeli elite’s denial regarding its place in the world, the justifications for its existence, its political behavior, and its strategic positions. This is definitely not due to the high level of complexity of the “Tehran” art series. Rather, perhaps the opposite is true: a product that falls apart, gets lost in narrative tracks after less than half the episodes (the number of eight), and creates events and suspense for no dramatic reason other than the full time exclusively. Above all, he is content with a prostitute throwback of very sick Israeli official propaganda (imagine Netanyahu carrying a cursor in one of his parades in front of the United Nations with a screen showing nuclear sites in Iran), and he struggles to present a lavish display of all the politicized, biased and eastern clichés about Iran, yet claims by virtue of its misleading direction That it will take us on a journey into the lives and minds of the people of the “central enemy” of the Hebrew state.
The story of Tehran revolves around the character Tamar Rabinyan (played by the young actress Nev Sultan), a Jewess of Iranian origin who works as a Mossad spy specializing in hacking electronic systems. It is sent on a secret mission to Tehran, which we later learn is to disable Iranian radar systems to allow Israeli planes to bomb nuclear enrichment sites without being hit by air defense missiles. Later, the task is complicated by a series of artificial events, as an airport intelligence officer discovers through his interrogation naive Israeli passengers who boarded the same (Jordanian) plane that Tamar used to infiltrate Iranian territory that a Mossad agent managed to enter the country, and the subject of his persecution and arrest turns into Obsession obsessed both professionally and personally.
The hype begins early with series creator Moshe Zonder (producer and writer of the disturbing Israeli series “Anarchy” that glorifies the murder and oppression of Palestinians). While tracing a miraculous path, a very zigzag on the way to enter Tehran by controlling the navigation devices of a Jordanian civilian plane on a flight from Amman to New Delhi and forcing it to make an emergency landing at the airport of the Iranian capital, and then Tamar exchanges the uniform of an Iranian stewardess and her identity with Zila, who is supposed to be an Iranian electricity company working for an Iranian company. The capital, and you want to escape your country in exchange for passing the transit codes for the electronic system of your workplace, which we will later find is related to a reason that we will never understand with the computer system of the main enrichment site of the nuclear program. Thus, the recipient has to be very tolerant of details and absurd twists if he wants the story to unfold. Negative cliches about Iran begin to fall on us since the first Iranian appeared at the airport, and deepen during Tamar’s first flight in the airport taxi to Zila’s house when you witness the public execution of a brother who is suspended. of a crane in the air … Welcome to everyday life under the government of the Revolutionary Guard. Iranian! And the episode doesn’t end unless Zila’s director at the power company tries to rape her in the company hall. Here, we must ask ourselves about the purpose of the series (judging by the fact that it is not entertainment) and the audience it is trying to reach. Is it the local Israeli public who might want to know more about the “enemy’s” forbidden fruit, but don’t need to watch eight hours of television to hear the same nonsense about Iran that they hear every hour in the Israeli media? Or is it the American audience who, as outside of the direct Israel-Iran conflict, will find that the Israeli drama is not entirely convincing compared to American and European spy productions? Or perhaps the Iranian public is mostly in exile? It is not easy to see the series inside Iran. However, this audience will be shocked by the extremely negative and unrealistic image in which Iranian opponents are portrayed as mere traitors to their country and voluntary tools to serve Israelis that will liberate them from tyranny and tyranny. Or is it to address people with sensitive hearts on both sides through the window of the humanitarian community that unites the Iranian people and Israeli settlers, while stereotypes accumulate in the series about the Iranian – always bad – as either a resistance to the Mossad championships, or as an executing servant, a religious fanatic or a rogue heretic? Or is it hackers and the new generation, who like experiments with breakthroughs, who have considered the series ridiculous in their way of presenting the Iranian defense systems control method? Israel succeeded in earlier times in neutralizing radars and air defense systems in Iraq and Syria to protect its aircraft during bombing missions, but this was always done with the complicity of manufacturers as the Iranians learned their lesson and created their own defense technologies. aerial. It is clear that Zonder and his team did not bother to think about all this, and were content to present a series that only caters to the prime minister and his wife’s guests, while Apple Plus has risked investing in a lean series for understandable political reasons. Apple has historically enjoyed close ties. And intimate with the Israeli entity.
The series does not take advantage of the many possible opportunities in an (Israeli) series on Iran to raise important questions in depth or contrary to the official wish of the ruling Israeli elite, such as the Israeli’s contradictory loyalty to their country of origin: whether they are immigrants. from Iran, Morocco, Ethiopia, Poland or India. Either Russia, there is no difference, or the meaning of national identity vis-à-vis religious identity, or the history and reality of Iranian Jews, or the background of the Israeli obsession with the Iranian nuclear program – which has not yet produced a single bomb – in parallel with a monstrous country possessing the third or fourth largest nuclear arsenal in the world (At least 200 nuclear warheads), or the American role in the siege of the Iranian nuclear program, or even the position of women in Israel’s patriarchal intelligence community, despite everything. However, in “Tehran” you will not find any of that, not even the secrets of the Israeli Mossad’s work. Its affiliates described the work as unrealistic and full of procedural errors, as there is no need to risk a client just for hacking a program that can be accessed through advanced technologies or even local clients etc.

As weeds that pay the price for the regional elephant fight, the series does not refer to the Arabs and completely removes them from the picture.

The series, whose outdoor scenes were filmed in Athens, not similar to Tehran for those who know her, may inadvertently develop the character of Iranian intelligence officer Faraz Camili (played by Iranian-born American actor Sean Top who acted in a performance convincing) who would have been the central character of the play. From artificial Tamar, but that opportunity is lost for incomprehensible reasons. However, some Zionist extremists were quick to criticize the series, claiming that it humanizes employees of the Iranian regime, as they say. It is a relatively accurate matter, at least compared to the understatement with which Israeli series deal with Arab characters and countries.
In the Arab world, as the weed that pays the price for the regional elephant conflict, the series makes no reference to the Arabs and takes them out of the picture entirely, save for the issue of the Jordanian plane and its crew at the start of the season, that almost presents them as accomplices of the Israelis, which is the historic time of the Jordanian regime.
The first season ends with a failure – temporary, of course – for the Mossad, there is no doubt that he will adjust in the next two seasons hired by “Apple Plus”, while Tamar hung out in the alleys of Tehran in the company of her Iranian lover ( the opposition). However, this open ending alone won’t be enough to convince audiences to return for a second (and third) season unless Zonder steps out of the trap of crude political treatment and treats the characters as living human beings. in the shadows of a great political conflict in which they may have no influence. Due to the many seasons of “mayhem” he previously featured on “Netflix,” he doesn’t seem capable of that in any way. Only more nonsense forms of Israeli propaganda are likely to come from his side in the coming seasons and as usual sponsored and funded by the American.

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