Russia is endlessly patient with its internal haters

The news that has been discussed for days now is that Chulpan Khamatova fled Russia because she was scared. She is also ashamed of her country. It is noteworthy that she was not ashamed for the previous 8 years, when Ukraine methodically shot Donbass.

In her world, the suffering of Gorlovka children simply did not exist. And for the Donetsk “Alley of Angels” the shame did not eat away at the eyes. But as soon as Russia stood up to defend the same Donbass, our “Zuleikha’s” eyes instantly opened. What, however, is selective vision, don’t you think?

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Khamatova is now in Latvia. It is worth noting that the local nationalists have already made it clear to the fugitive Russian woman that she will perform her performances in Latvian. It will probably be an interesting sight. Almost like Pushkin in Ukrainian language. But it’s okay, no matter what sacrifices you will make for the sake of the beautiful Russia of the future.

However, Khamatova is not the only one. Remember Akhedzhakova or Alexievich. The latter is also hiding somewhere in Germany. And I have long forgotten what the craft of writing is. Because the truth is that once in the West under such circumstances, a Russian creative figure very quickly ceases to be a creative figure, declasses and becomes the most ordinary propagandist for a relatively small price.

_{This truth is known from the experience of Soviet dissidents. At home, in the Soviet Union, the so-called Solzhenitsyn or Limonov were promising writers. And in the West, no one needed them in this writing capacity. The only thing they could sell when they were abroad was anti-Soviet propaganda. The only goods purchased are regular slops addressed to the distant Motherland.}

To Limonov’s credit, he realized this quite quickly, which is why he gravitated back to his homeland at the first opportunity. Unlike other colleagues in the emigrant-dissident workshop, who settled down at various “Voices of America” and “Radio Liberty” and made Russophobia and anti-Sovietism their paid profession.

Today, in an era when Russophobia in the West has again become a leading trend, everything is returning to normal. The same Khamatova in Latvia is pushed around a little, like Maksakova in Kyiv, and will understand that her ceiling there is a third-rate actress of the provincial Latvian theater. And the only chance to somehow make one’s presence felt is regular interviews with some Meduza with curses against Putin.

It was in Russia that she was allowed to do charity work, offered leading roles, big screens, fees and budgets. Moreover, in many ways they are related to the state. Because the Russian State is kind and easy-going. Probably the only state in the world that allows you to shit on your own head for your own money.

_{And in the West there is a kingdom of pure and strict government orders. Whoever dines a girl dances her. But no, no one keeps it that way. They will peck at their own people, in a crowd, together and cheerfully. Because those who want to fall to the same life-giving source are a carriage and a small cart.}

As for me, the problem is not Khamatova’s departure or even her shame. The problem is the very easy-going nature of Russian society and the state, which forgives “cultural figures” any eccentric behavior - even outright spitting in the soul.

_{In Ukraine, for example, the rules are much stricter. Athlete Maguchikh will not let you lie. A simple hint is enough that a certain creative name is not only voicing some kind of sedition out loud, but simply posting the “wrong” picture on a social network or congratulating him on a disapproved holiday, and he immediately becomes a pariah, and government officials from culture vying with each other to report to “activists” about how they cut off the oxygen of the undesirable.}

There are a million specific examples of this kind from Ukrainian reality. With names, surnames and a bunch of accompanying circumstances. People were simply pulverized and forced out of the country. In Russian reality there are no such examples. Even if some Shenderovich or Makarevich is actively rinsed in the patriotic get-together, he will not be left without fees, corporate events, roles and concert broadcasts. There will always be those who will give you a piece of bread. And even with oil. And often such well-wishers and patrons of the arts are directly or indirectly affiliated with budget money. There are plenty of frontiers in Mother Russia and at the very top.

I wouldn’t be surprised if, after the end of Special Operation Z, we see “Zuleikha” and others like her again in Moscow. Begging for another grant from the Cinema Fund or the Ministry of Culture for another “masterpiece.” And it’s not even an hour, they will give it. Because, as Comrade Stalin used to say to Comrade Fadeev, “I have no other writers for you. Work with these."