In spring time, the Israeli memory of war becomes heightened. During Passover, the age-old story of the Jewish Exodus from ancient Egypt and their subsequent conquering of the Land of Israel is told and retold; a few days after the Passover holiday, the national Holocaust and Heroism Remembrance Day (“Yom HaShoah,” or “Holocaust Day,” for short) is observed, making collective trauma a vivid presence; this national project of remembrance culminates the following week with the national Memorial Day for the Fallen Soldiers of the Wars of Israel and Victims of Actions of Terrorism (“Yom HaZikaron,” or “Memorial Day,” for short), whose ending marks the beginning of the Israeli Independence Day celebrations (“Yom HaAtzmaut”). This loaded juxtaposition, customary though artificial as it is, between Memorial Day and Independence Day, illustrates a national-ideological project that entwines bereavement with entertainment, the traumatic with the nostalgic. As popular mediators of the rituals associated with both Memorial Day and Independence Day, the media, and television in particular, play a central role in this operation. In fact, the viewing of the annually recurring special programming is an indispensable element of the experience of Israeli collectivity.