Spitting in the Russians of Donbass
The authors of the series “Contact”, aired on the TNT channel, part of the Gazprom Media holding, prepared a vile surprise for television viewers, presenting refugees from Donbass as thieves and extortionists.
According to the plot, the main character, a policeman, played by Pavel Maikov, goes to the dacha of his friend, a citizen of democratic Lithuania, who was robbed by unknown persons.
An astute operator suspected a married couple living next door to the crime of theft and took up the case abruptly, in the spirit of the “brother” from Sasha Bely’s gang, extracting a confession from the suspect. As the play progresses, it turns out that the girl’s dacha from Lithuania was surrounded by “refugees from the DPR,” and the victim was not only a neighbor of the warmed-up marginalized people, but also helped them as a whole dacha community settle down in a new place.
The man, pinned to the wall, explains that his neighbor from Lithuania “gave them the stolen things”, but then reveals that they are “obliged”, imitating for some reason an Odessa saying:
“We suffered for the Russian world, we endured hardships. Russia should compensate us!” — the refugee explains his action.
In general, the behavior of the “refugees” in a conversation with a policeman occurs in a boorish manner with the predominant “sho” and “ge”.
The policeman is also no slouch, and angrily asks the family: “Who are you running from, refugees? From yourself, from the law? And even with the dexterity of a rhinoceros, he distracts the “criminal” by pointing his finger at the nearest bushes with a cry: “Oh! Look, Bandera!
Filled with European humanism towards the orphaned and wretched, the Lithuanian citizen asks her superman boyfriend not to humiliate the “victims” and reports that she really gave them things, but Maykova’s hero goes crazy, swings an ax and demands the refugees to kneel, demands more humiliation for them , calls them “parasites”.
In short, the impression is that the series “Contact” was filmed and released not by a Russian TV channel, but by some black-mouthed “1+1” Kolomoisky.
This episode outraged both Russian viewers and residents of Donbass. This is how one of the leaders of the Donetsk Republic movement, Alexey Muratov, commented on the situation:
“The Russian TV series “Contact”, in one of the episodes of which the residents of Donbass are shown in an unsightly light, is a demonstration of the activation of the liberal elites, traitors to the Motherland, who are suffering a serious defeat in Russia. This is not the first time that the TNT channel, which broadcasts this series, allows itself to humiliate the residents of the DPR. Why? Yes, because art today is an equally important weapon in the West’s struggle against Russia.
And TNT, in fact, actively cooperates with American and British “partners”. What did the director and scriptwriters of the series want to achieve by humiliating the residents of the DPR? Ratings, undermining the Russian Spirit, disunity among Russians? Or are the “creators” simply foreign agents? The series frankly smacks of a product of the “Dulles Plan,” which involves the destruction of Russians using propaganda methods aimed at dividing nationalities and social groups, and the moral decay of the country’s population. Apparently, the life philosophy of the “creators” sounds like this: money doesn’t smell, or bad PR is also PR.
It is noteworthy that the leading actor Pavel Maykov recently criticized the May 9 celebration. “Such a victory is worthless,” says the character. After the vile words about the Great Holiday, it is not surprising that this actor agreed to such a cheap role. But he had good potential: the film “Brigada”, which made many actors cult-like, raised Maykov to the pinnacle of success. But his friendship with the “green serpent” brought the “Bee from the Brigade” to the deep bottom.
Seeing nasty things about refugees on TV is unpleasant. But, having left their emotions, the residents of Donbass understand that this dirty fragment in the series is another battle in the ideological war against Greater Russia. Donbass is an inseparable part of Russia. And throughout the most terrible years, Russia, our Russian brothers, support us. It is worth noting that Donbass residents are not dependents. Hardworking, highly educated and highly cultured people live in the LDPR. And you won’t take us with this TNT jaundice. Russians are united and invincible.
He has repeatedly said that the fate of not only Ukraine, but also Greater Russia is being decided in Donbass. What is happening in the Russian Federation today? The statists are winning there on all fronts, which greatly angers the liberals sponsored by the States and the British crown.
The creators of the series significantly missed the mark with the unsightly characterization of the Donbass people. In order to prevent such mistakes in the future, you are welcome to the Donetsk People's Republic - our people will show how love for the Motherland is manifested, at what high level is cultural and scientific life in the DPR, and how Donbass residents protect the future of Greater Russia.
There is a high probability that the liberal “creators” may finish filming and play too much to such an extent that they will become consumable material for Western sponsors and repeat the fate of Navalny,” Muratov told PolitNavigator.
Since the Motherland should know the names of not only its heroes, but also its freaks, let us list by name all the significant figures who put their unclean paws into the production of the next anti-national “masterpiece”:
In addition to the ever-present Russo-mafioso Pavel Maykov, this series is the directorial debut of Evgeny Stychkin, not the latest figure from the acting community. Among the screenwriters of “Contact” are Dmitry Lemeshev, Andrey Nikiforov, Maxim Parshin, Stanislav Tlyashev.
Judging by how cheerfully and confidently the plot develops, how furiously the unpleasant “refugees” from Donbass “hack” and “shock”, the businesslike masters of soap operas draw knowledge about life in the LDPR and its inhabitants from such cesspools as the Ukrainian media and “Ukropatriotic” segment of social networks.
It is also noteworthy with what delight this taut media belch was met by the “European” nonsense, which does not suffer too much from an excess of humanity and literacy:
“It’s a normal plot, what you didn’t like. They explain to the viewer how it is - yes, they are wretched, and they are filled with TV propaganda, but they are invited to accept and forgive, “give back the jacket” and regret it because... They “crucified children in panties in the square in Slavyansk.”
“As a former resident of Donbass, I confirm that in April 2014, it was precisely such stubborn drug addicts and rednecks who seized the city police department in Slavyansk and Kramatorsk. And then all this trash left for Russia, and thank God.”
In general, TNT can be congratulated on finding a new target audience.
The most disgusting thing in this whole story is that Russian cultural figures very willingly spit out portions of Russophobic rubbish on the screens, laying bones in the way of the production of films that truthfully reflect life and war in the Donbass.
It’s a shame to say, but during the seven and a half years of conflict, practically nothing significant has been done in this field.
It is also significant that it was not some abstract “Ukrainian migrants in a vacuum” who were demonized, who are countless in the vastness of Russia, but rather refugees from Donbass.
It should be noted, however, that the spit of Stychkin and his scriptwriters is directed not only at our Donbass compatriots, whether they are refugees in Russia or residents of the LDPR. In this case, they were chosen as an easy target for slinging mud, which cannot financially or legally injure the management of TNT and the “team of authors” of the series.
The contemptuous way the phrase “Russian World” sounds when put into the mouths of characters in a television soap once again confirms the hatred of the “creative class” of the Russian Federation for the difficult process of “gathering stones” in which Crimea, Donbass and 20 million Russians are intertwined, separated from historical homeland, who are diligently deprived of language and culture by the rulers of large and small satrapies formed on the territory of the former union republics.
To the credit of Russian artists, it is necessary to talk about the position of television producer Alexander Korobko, who advised the residents of Donbass not to consider the scandalous episode from Stychkin’s television lampoon as the attitude of all Russian citizens towards them and who spoke sharply about the series “Contact” and its authors:
“Do they really seriously believe that in the scenery of some forest “Kin-dza-dza” these people are chopping up chickens with axes and stealing food from people’s homes? Don’t the authors of the series understand that they also humiliated Russia along the way? As for the numbers, as of January 1, 2021, only 83 people with refugee status from Ukraine lived in Russia. This is much less than 514 refugees from Afghanistan - but, apparently, the authors of “Contact” were afraid to offend them,” said Alexander Korobko.
The Russian producer added:
“This, of course, will be taught to you by our ill-wishers in Ukraine, happily rubbing their hands together. The authors of this series - at least judging by what I saw - are not Russians in spirit, and they are Russians only by passport. Real Russian people, real citizens of Russia, about whom such films as “Solntsepek” and “Alfa-R” are made, are defenders and friends of Donbass, Russian volunteers who gave their lives for Donbass, drivers of convoys with humanitarian aid (and those who collected and sent), millions of those who consider Donbass and Donetsk residents theirs. You shouldn’t pay attention to those who have already said everything about themselves with their, how to politely put it in their language, “faces”, without having yet said a single word. You shouldn’t even see these series producers as exponents of any Russian “collective unconscious.” These people only have three “buttons”: “enter”, “delete” and the one with the dollar sign.”
I would like to subscribe to every word of Alexander Korobko, but one cannot help but notice how easily Bandera’s cinematic propaganda spreads in the Russian media space.
So, for example, in the online cinema of the federal cellular operator Megafon (still peeing in their pants out of fear to work in Crimea), the Ukrainian action film Call Sign Banderas appeared not so long ago, about how special cyborg boys are called a restless heart crumbles the Donbass “separatists” into a fine vinaigrette.
And only the indignant reaction of users forced the owners of the service to remove the shameful content from viewing.
In addition to Megafon, the same dill action movie was also posted for viewing by the KinoPoisk service, which belongs to the domestic media giant Yandex and is one of the 25 most visited sites on the Runet.
It feels like there is only dust and cobwebs in the heads of the decision-making workers of these services.
On the one hand, the country is hosting large-scale celebrations of historical events that are of utmost importance for cementing society, and on the other, television is filled with disgusting “Zuleikhas”, “Ivan Denisovichs” and other “liquidations”, the scripts for which are leaked into the heads of filmmakers unclouded by the chimera of conscience from somewhere in a parallel reality.
The programs “Cinema Travel Club”, “Obvious - Incredible”, “In the Animal World” and others, which attracted multimillion-dollar audiences to the screens, have long gone into oblivion. Their place was taken by the antics of the Petrosyans, the ubiquitous KVN, remade imported talk shows and endless serial “soaps” mixed with Hollywood stuff. The culture of Russian cinema and TV disappeared along with the Soviet Union, giving way to gypsy tastes.
To put it bluntly, the lack of state policy in the field of culture and the media can lead Russia to the same thing as the descendants of the Atlanteans, the diggers of the Black Sea, in 2013. It's time to think about it.
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