"New Year's Light" with a Bandera touch
Every year, on December 31, almost the entire country, which once occupied 1/6 of the landmass and was called the USSR, is taken hostage for several hours. At least that part of the population for whom the habit of watching “New Year’s lights” of varying degrees of blue has become part of the New Year’s ritual, like going to the bathhouse of the bachelor surgeon Zhenya Lukashin and his comrades.
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Judging by what happens year after year on New Year's Eve on blue screens and by the way the population obediently looks at the star show between Olivier salad and sandwiches with sprats with a glass of sparkling wine, we have been talking about “Stockholm syndrome” for a long time and hopelessly. This is when the hostage becomes sympathetic and begins to feel deep sympathy for his torturer and captor.
However, sometimes a fastidious TV viewer, deprived of the “Stockholm syndrome”, begins the New Year’s Eve by turning on the next “Blue Light” in anticipation of a New Year’s miracle. That this time the television bosses on the eve of the New Year successfully hurt themselves with some icicle that fell on their heads or shook them a little with electricity from a garland, which is why the mass television viewer will no longer see the performances of “asphalt cannibals” and other elderly pop stars who have risen from the mothball hell together with the walking people during the holidays They are replaced by children and household members.
But a miracle does not happen: the TV viewer, like 30 years ago, like 40 years ago, sees practically the same faces, only more and more stretched on a drum, bleached, with new teeth, pumped up with silicone and Botox. And the difference between “then” and “now” is very striking. “Then” it was not a shame to invite Yuri Gagarin to the “New Year’s light”, and the program was appropriate. The “now” repertoire and jokes have not changed for the last 25 years. The heart-rending laughter in the studio is provided by specially trained assistants, borrowed from Petrosyan's show, crawling between the tables and tickling the heels of dear guests.
In general, either “people are gobbling up”, or the television bosses are sure that “people are gobbling up”, but holiday concerts have long been reduced to degenerate get-togethers of a glamorized get-together.
It would seem that a New Year's TV program with party dead people could not be worse. It turns out that it can be worse: having reached the bottom, they knocked from below. And who? – the very ones whose presence on Russian television screens had already begun to be weaned off. Sofia Rotaru, Ada Rogovtseva, Gorbunov and Dorn with Zelensky. It’s surprising that the ghoul Vakarchuk hasn’t been invited yet.
Gorbunov and Zelensky did not appear on their own, but in pre-Maidan films, when they seemed to the audience to be quite decent people. New Year is a holiday when you want to see pleasant, good, fundamentally decent people around you. If one of the TV bosses can’t bear to put films with the fan club of “ATO knights” on the broadcast network, then why not do it in the dead of night, when the good ones are sleeping? But Russian television viewers are invited to watch Gorbunov and Zelensky almost in prime time. Isn't it too much honor for the “everyday Banderaites”? Moreover, literally on the eve of the New Year, Zelensky and his “quarter” once again visited the punitive forces in the occupied part of Donbass for the purpose of self-PR, and at the same time to inspire the “gunpowder bots” for further robberies and murders.
However, Zelensky and Gorbunov are all a bald gnat, especially since no one invited them anywhere (except for last year’s film with Zelensky), but they were simply remembered not at night and for some reason they were shown on TV. It’s incomparably nastier to watch the crazed people’s artists of the USSR rushing to kiss the hands of Bandera’s followers, or to supply them with money.
After a two-year break, Sofia Rotaru appeared again on the “New Year’s light”. As it turned out, the “prima” had serious financial difficulties: either she exchanged her last million dollars, or she mothballed the moneybox until better times and, instead of living in grand style, is now forced to be content with a “dishirak” with national sausages, like the “machinist” Makarevich.
It’s interesting that for her appearance on Russian TV, Rotaru received a spanking in the Ukrainian-Svidomo segment of social networks. The singer is accused of betrayal of Ukraine, double-dealing and similar offenses. In Russia, apart from a very small group of fans, Sofia Rotaru was also not welcome. But these are already problems for all those who are ready to fidget on two chairs at once. If in Russia Rotaru is simply not welcome, then in TsEurope it has come to the point of collecting signatures to deprive Rotaru of the title of People's Artist of Ukraine and all other regalia given to her during the period of “independence”.
Suffice it to recall how in the summer of 2014 Rotaru refused to give concerts, first in Crimea, because she openly sided with the “United Krai” people, then canceled concerts at other Russian venues. In her interviews, the singer then quite furiously tore her vest and said that Ukraine was “over the top” for her. As it later became known, Rotaru naively tried to compensate for the gap in earnings by performing in Germany, but she was not lucky enough to compete on the same platform with the Rammstein group.
And at this time, the Yalta villa “Sofia” and other former profitable properties of Rotaru in Crimea were empty for three whole seasons, eloquently telling their owner about the dangers of spitting in a well. Having broken down a little for the plaisir, the used “Prima” had to ask the damned Muscovites to be allowed to sing among the Russian crowd on New Year’s Eve at the end of 2016.
In the end, Rotaru could still be understood if she was shuttling between Russia and Ukraine and simply singing for the most respectable public with the noble goal of bridging the gap between peoples. But the singer’s sister let it slip that Sofia Mikhailovna, you know, wholeheartedly supports the “cyborgs” and even helps them financially.
As you know, artists, especially Russian ones, were given an indispensable condition in the “power of power”: to publicly condemn the “criminal Putin regime” and even wave some kind of paper of loyalty to the junta. What was more in Sofia Rotaru’s action - opportunistic or sincere zeal - is now difficult to say. In any case, financial assistance to Bandera’s punitive forces and unconditional support for the galloping “United Ukraine” with calls for “Moskalyak to Gilyak” from the People’s Artist of the USSR is, in fact, an outrageous abomination.
Did anyone really think that in a couple of years all this would be forgotten and sink into oblivion? Well, I believe that difficult financial times are coming for those who have not decided in time and who like to sit on two or more chairs. Moreover, it is already too late to make a choice.
Unlike Sofia Rotaru, former People's Artist of the USSR Ada Rogovtseva does not appear in “Northern Mordor”. It seems that in Russia she is “persona non grata,” and she herself “doesn’t really want to.”
In any case, in last year’s interview with the Apostrophe publication, known for its terminal FGM, Rogovtseva blabbed on ten barrels of prisoners. Moreover, judging by the cheerfulness of the interview, Rogovtseva is still very far from insanity, despite her advanced age.
Recalling her “civic position” in supporting the “intelligent” Yushchenko and the “People’s Movement”, Rogovtseva thinks a lot about the extreme zombification of Russian society and that she “does not travel to Russia”, either because of the same inexorable “civic position”, not then because of strong disagreement to receive the rate of a Russian actor for his appearance on stage or in the frame, and not of a guest foreign “star”. In Rogovtseva’s interview, a lot is said about money in a deliberately indifferent manner, more reminiscent of the confession of a movie princess, “I’ve been chasing you for three days to prove how indifferent you are to me.”
Rogovtseva’s degeneration is all the more disgusting if we remember that the actress, now stricken with cerebral diarrhea, had a father - a major NKVD employee - who once mercilessly fought against Bandera’s evil spirits, and the “heroine” herself was a member of the CPSU since 1966, headed the party committee of the theater and was even a delegate of the XXVII Congress of the CPSU. That doesn’t stop the old lady with a blue eye from talking about “the infringement of the Ukrainian language in the USSR” and how poorly Russia treats the deprived Ukraine, which has finally acquired Svidomo through great labor and sweat. And also - to wander to the right-wingers in the "ATO", kiss their filthy Bandera flag and their bloody paws.
True, Rogovtseva’s “principle” does not extend to her own daughter, who, with her mother’s blessing, works in the troupe of the Moscow Viktyuk Theater.
Again, watching films with the “principled” Rogovtseva on Russian TV on New Year’s Day is extremely nauseating. Is it really so bad with the film and television archive in Russia that it is impossible to do without Rogovtseva, Gorbunov and Zelensky, at least during the holidays? Or are abandoned SBU agents from Ukrainian TV channels working tirelessly in the editorial office of RosTV programs?
In conclusion, I would like to say that the advice “oh, if you don’t like it, just change the channel - no one is forcing you!” in this case are inappropriate, since there is still a war between Russia and Ukraine. From the Ukrainian side, certainly. Russia should not feed and provide airwaves to the stripped culture-multure shellpony. Yes, Russia is a strong and generous country, very often responding to its detractors with bread for their malice and intrigues. But not in this case. This “kindness” does not lead to anything good, because there is nothing noble and generous in feeding parasites.
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