The Serebrennikov case is far from being a conflict with the authorities, but a disagreement with its actions that has already broken through. Surkov's favorite theatergoer Serebrennikov is implicated in stealing grants from Medinsky - pravdoiskatel77. Gray shadow of groundhog
Kirill Serebrennikov in court. Photo by RIA Novosti
The Serebrennikov case brought together a “broad” coalition of people influencing public opinion in his defense. This is far from a conflict with the authorities, but already a disagreement with its actions that has already broken through. Perhaps we will not find examples of this in recent years. Perhaps the events of winter 2011.
- Of course, everyone, and above all, groups of influence, our cultural elite should have read the signal about the continued "special subjectivity" of the security forces. The trend, which began to gain strength in 2012, took shape in 2014 and peaked in 2016, it seemed that in 2017 it should have been replaced by a “thaw”. But it's not quite like that. The security forces act autonomously and are able to change any political, public or informational agenda. At the same time, there is no question of any disloyalty of the security forces in relation to the authorities. And the words of the President, which were remembered by many as a negative assessment of the investigators regarding the director, do not play a special role here.
There is an assessment of the action, and there is an instruction from the President to the security forces to work on the topic of corruption and bring cases to court, "but without 1937." The security forces carry out the order, but how they do it and, most importantly, why, is another topic.
- The interception by the state (and in our case, by the security forces) of a public request for the fight against corruption, for the war against theft of state funds, always carries the risks of a boomerang (or response). In a dozen high-profile cases of corruption, there will definitely be defendants who have become the darlings of society among the defendants. Having initiated the request, the society must understand that everything will not end with just walking along the boulevards. The state will imprison not only unpleasant officials, but also well-known and pleasant comrades who find themselves near state funding.
- Any high-profile criminal case will necessarily affect significant political and economic groups of influence. Consequence always works with a broad brush and vacuums information. In the Serebrennikov case, there were two versions of who gets hit.
— (1) Many have mentioned Kapkov's name. Indeed, the Serebrennikov-Kapkov connection is direct. The director signed a contract with the head of the Moscow Department of Culture. Through Kapkov, you can get access to a large number of people in politics and business. Yes, even for Abramovich. Plus, Kapkov is a bunch with Mayor Sobyanin, who has been hit recently. It is no coincidence that during the week the mayor of the capital was mentioned at least several times as a successor to the President or a future prime minister.
Kirill Serebrennikov and Vladislav Surkov
— (2) the next version is the customers-ideologists. A careful reading of the accusation shows that the Investigative Committee is not interested in Moscow affairs, not in the Gogol Center, they are interested in the history of the Ministry of Culture of Russia - the history of Studio 7. Serebrennikov received state funding for the studio. Among those who were aware of the issue are Surkov, Zhukov, Avdeev. In all likelihood, it was Surkov who agreed to the creation of the 7th studio. And in the Serebrennikov case, it is Surkov who is the most vulnerable character. Here we can recall how Surkov already entered into a public conflict with the current stakeholders of the case (Bastrykin and company) in May 2013.
Chulpan Khamatova read out the appeal of the actors in support of Kirill Serebrennikov and the Gogol Center. Photo Novaya Gazeta
- The “second round” of the Serebrennikov case (after the public reaction of the President, after the negative reaction of representatives of culture, after the negative in the media) can even be considered a “response” on the part of the security forces to some specific patrons (defenders) of the director. This is such a “Russian answer”, when the parties literally have to squeeze out all their resources in order to show their weight and break the opponent. How long will it last? But, apparently, until one of the parties gives in, or a third force intervenes, or (as was the case in the reaction to the Belyaninov case) a menacing shout follows and then shoulder straps fall off. But until this happens, the game will continue. True, the defendants themselves in the case are waiting for tedious days and not joyful prospects.
List of cultural figures and public figures who supported Serebryannikov: Solzhenitsyna, Bondarchuk, Malakhov, Ulitskaya, Urin, Kirkorov, Mironov, Kalyagin, Andrey Smirnov, Avdotya Smirnova, Kozlovsky, Dodin, Khamatova, German, Raikin, Popogrebsky, Mizgirev, Garkalin, Slepakov, Rappoport, Isakova, Svetlakov, Lisa Boyarskaya, Vernik , Vitorgan, Khabensky, Tregulova, Sobchak, Urgant, Kartozia, Svanidze, Budberg, Kudrin, Titov, Polina Deripaska, Irina Prokhorova.
https://www.site/2017-05-24/oleg_kashin_o_nepriyatnostyah_kirilla_serebrennikova
If you look at power for a long time
Oleg Kashin about the troubles of Kirill Serebrennikov
Maxim Blinov/RIA Novosti
We met seven years ago and immediately quarreled; last spring, in a common company, they ended up at the same table and tried not to notice each other, it was unpleasant.
What they quarreled about: seven years ago I interviewed him, and he wanted to tell me about some complex and interesting production by May 9, and this production interested me only from the point of view that the state needs patriotism and “thanks to grandfather for victory”, and he provides this “thank you” for the corresponding money, but in general I was much more interested in the staging of “Near Zero” - it was already known who is considered the author of this story, Serebrennikov volunteered to stage it, and I was pleased to ask him about it , seek answers in the spirit that it doesn’t matter who the author is, it’s just a very deep and accurate story, better than others, reflecting the spirit of the times, and the very name “About Zero” - how multifaceted and talented it is, because in the word “ near-zero" you can hear "near-life", and "near-death", and even (for some reason) "near-ass" - that's what he told me. And it looked, adjusted for the understandable difference between the eras, as if Yuri Solomin was giving an interview about how pleased he was to play Brezhnev in the play "Small Land" at the Maly Theater - everything is more than obvious, but you have to play the fool, and a few minutes shame, apparently, offset by all the other bonuses associated with this production. I knew about Serebrennikov that he was friends with Vladislav Surkov and that this friendship had by then been materialized in the expensive Perm festival "Territory", which was paid for by a mysterious fund headed by Surkov, either a classmate or a childhood friend, who, as I was told , in fact, is that mysterious author of the fashionable story, about which everyone thought that Surkov wrote it and therefore she was praised.
The interview was filmed, and Serebrennikov came to my office for this shooting. The camera turned off, we got up, I went to see him to the door, said goodbye, as it seemed to me, rather warmly, shook hands, but as soon as the door closed behind him, I received from him a huge (and this struck me - when did I manage to write?) SMS , in which it was written that in vain I expect to make a career on offending people, nothing good will come of me in life, and he wants me to burn in hell. I understood what he was offended by, but it didn’t upset me at all - well, really, man, if you chose the role of a court punk, be prepared for the fact that you will be asked about it, and no one promised that it would be easy. Of course, I titled the interview with the most obvious “Near the Kremlin”, and Kirill Serebrennikov occupied in my memory the shelf on which the people offended by me sit deservedly (of course, there are also undeservedly, but this is not the case here). Of course, I followed his further fate, and nothing in it seemed to me a reason to think about him in any other way: yes, Surkov left, but Kapkov came, and the roles remained the same, but to say something about them beyond what has already been said - what for?
And now, when the security forces and FSB operatives took care of Serebrennikov for interrogation all day at the Gogol Center, and there are already two detainees in this case, and there was a worried audience and actors in front of the theater, and Chulpan Khamatova, reading the corresponding speech, I have to gloat over all logic now, because yes, if you play its games with the authorities for many years, then sooner or later the authorities will change the rules, and the charming author of Near Zero will suddenly turn into a ruthless investigator who will put in front of you a form of an honest-hearted confessions and ask: “Well, have you thought of it?”
Vyacheslav Prokofiev/Kommersant
This gloating - yes, it seems natural, but it also has its own dramaturgy. Rejoicing in the troubles of someone who is unpleasant to you, you somehow inevitably take the side of this investigator, those operas who put the director in their car and took him away for interrogation, those Russian guards (were they Russian guards?), who, having locked the troupe in in the theater hall, unwittingly, played a disgusting scene from the fall of 2002 - people in camouflage always have much more in common with each other than they themselves think about it. And I have just as much in common with Serebrennikov; of course, in any case, he is dearer to me, closer and more understandable than those men and women in uniform who came to the theater this Tuesday, and if some rational, political or personal considerations push me to rejoice at Serebrennikov's troubles - After all, they push me, first of all, into the arms of that opera who kicks in the door of his office, and then says that he has entered the history of the theater. And I don’t want to be in his arms, so let’s leave the gloating to those nice people who, for some reason, consider themselves to be among the bearers of absolute moral rightness - we have a lot of such people, they always speak on such occasions, and, in a good way, from they would have made excellent security officers if the place of the security officers had not been occupied by those guys who escorted Serebrennikov.
Serebrennikov is a form of life that one may not like, one may resent, one may repel. And the Russian Guards, Chekists, investigators are something else, not a form of life, but part of a completely inhuman machine, all the destructive and poisonous properties of which are well known and disgusting. Anyone who gets hit by this machine deserves unconditional sympathy, even if he himself had in mind all the risks when he began to interact with it. And if you didn’t think about the risks, then even more so.
For many years, Kirill Serebrennikov peered into the authorities and their people, and at some point, as expected, the authorities began to peer into him. It’s not good to say that, but I hope that the humiliation and fear he experienced that day will turn out to be stronger than all possible excuses in the spirit that power is not homogeneous, and that, in addition to these operas, there are likeable intelligent people with whom you can deal with, achieving their support and assistance. I hope that the result of this unpleasant day for him will be such an unconditional and weighty “Damn you”, which he will harbor in himself and sooner or later will bring down on the head of this state, no longer looking at and not understanding who is good in this vertical, who is bad. And if some regular theater-goer is found in power, who will show him the manuscript of the next “Near Zero”, Serebrennikov will quietly but firmly say to him: “Fuck you.” And ideally, such a model of behavior will become a model for the entire Russian creative intelligentsia - it is never too late to understand that this state simply does not deserve another conversation.
Those who wish to testify against the artistic director of the Gogol Center line up.
Director Kirill Serebrennikov was formally charged with fraud yesterday. He spent the night in the temporary detention center on Petrovka, and this morning he left for the Basmanny Court. At the same time, producer Ekaterina Voronova was put on the federal wanted list - according to the Investigative Committee, she has been hiding from the investigation for a long time. The investigation has a political component.
Performances by Serebrennikov
The detainee Serebrennikov is the man of Vladislav Surkov. The investigation will be interested in testimonies against Surkvoa, members of his entourage and Minister of Culture Vladimir Medinsky.
Journalist Oleg Kashin yesterday recalled his communication with the director in 2010:
“Serebrennikov came to shoot me. As soon as the door closed behind him, I received from him a huge (and it struck me - when did I manage?) text message, in which it was written that in vain I hope to make a career on offending people, nothing good will come of me in life and he wants me to burn in hell"
In the same year, Kashin's head was broken, which he then associated with the team of Vladislav Surkov, his friends Andrei Uraev and Vasily Yakemenko. Serebrennikov's role in this incident is described in open sources.
Shortly before the assassination attempt, Oleg Kashin reported that the text of the novel "About Zero", the authorship of which is attributed to Vladislav Surkov, was actually prepared by Andrei Uraev.
Uraev is a stunt coordinator, a close friend of Surkov, a partner of his wife Natalia Dubovitskaya in the starch business. Together with the presidential administration, where Surkov worked, he financed film projects. Uraev and director Kirill Serebrennikov were the founders of the cultural fund "Territory".
Every year, this organization, with the support of Vladislav Surkov and the Ministry of Culture, held a large-scale festival. As of 2011, the Territory CF was allocated $1.6 million from the budget. The director of the CF headed the NP New European Theater Festival, which separately received 24 million 450 thousand rubles from the budget. The state financed the "exchange activities with the Republic of Abkhazia" planned by the structure of Uraev and Serebrennikov. The amount of extrabudgetary contributions is unknown, although they are considered basic.
Before the attack, Kashin also indicated that the career of Robert Schlegel, nominated to the State Duma from the United Russia party, was connected with his marriage to Uraev's daughter. After the assassination attempt on the journalist and the scandalous publicity, the parliamentarian publicly denied information about his marriage to a relative of Uraev. And a year later, the son-in-law of a friend of Vladislav-Surkov, Robert Schlegel, said that the refutation of the fact of marriage with Evgenia Uraeva-Schlegel was a joke.
Vladislav Surkov
These circumstances do not mean that Oleg Kashin was attacked on the orders of Vladislav Surkov. But they explain well why Kirill Serebrennikov, being a friend of Surkov and a budget recipient dependent on him, sincerely wanted Kashin to "burn in hell."
Yesterday morning, Serebrennikov, who was filming a film about Viktor Tsoi in St. Petersburg, was taken to Moscow for interrogation at the Main Directorate for Investigating Particularly Important Cases of the TFR. After investigative actions, the director was detained. The investigation did not involve special forces for this, apparently remembering President Putin's unflattering review of the May searches of Serebrennikov's Gogol Center in the same case. The ICR reported that Serebrennikov is suspected of organizing the theft of 68 million rubles allocated in 2011-2014 "to support the development and popularization of contemporary art within the framework of the Platform project."
Serebrennikov launched this project with the participation of Surkov. For the implementation and financing of which in 2011-2014 the Ministry of Culture allocated more than 214 million rubles from the federal budget. Under the project, Serebrennikov created ANO "Seventh Studio". For her work, the director attracted his friends Yuri Itin, who became the general director of the ANO (now the director of the Yaroslavl Drama Theater named after Fyodor Volkov), the ex-director of the Gogol Center Alexei Malobrodsky and Ekaterina Voronova, who became the general producers of the new project, as well as Nina Maslyaeva, who headed studio accounting. Mr. Serebrennikov himself became the artistic director of the ANO.
Fulfilling the instructions of Messrs. Serebrennikov and Itin, other defendants in the investigation annually developed action plans within the framework of the Platform project, “containing deliberately unreliable inflated information about their number and cost,” Kommersant quotes the version of the investigation. Then they presented them to the Minister of Culture, Vladimir Medinsky, as a justification for the amount of required budget funding. In the future, they also prepared and submitted financial and creative reports to the ministry, indicating that the subsidies received by ANO Seventh Studio were spent in full on the previously envisaged activities.
On behalf of Serebrennikov, ANO employees entered into fictitious contracts with controlled legal entities and private entrepreneurs who allegedly performed work within the framework of projects. The funds transferred under these agreements were cashed out and distributed by Serebrennikov among the other alleged participants in the theft. Thus, 68 million rubles were stolen. As a result, the ICR charged the director with a crime under Part 4 of Art. 159 of the Criminal Code of the Russian Federation (large-scale fraud, the maximum penalty is imprisonment for up to ten years with a fine of up to one million rubles).
At first it seemed that the investigation would be limited to the previously detained defendants in the person of Yuri Itin, Alexei Malobrodsky and Nina Maslyaeva, however, surrounded by Kirill Serebrennikov, who received strong support from persons close to Vladislav Surkov (they wrote appeals to all instances, including President Putin), didn't rule out the worst case. A letter in defense of Serebrennikov was handed over personally to the President by Surkov's acquaintance Yevgeny Mironov. He himself may be among the defendants in the case, because, along with Serebrennikov and Uraev, he was among the founders of Territory.
Yulia Kalinina, Deputy Artistic Director for Finance, will become the interim head of the Gogol Center.
Mr. Serebrennikov did not admit his guilt, just as during the first interrogation conducted three months ago. However, the investigation believes that it is confirmed by the testimony of other defendants in the investigation. As previously reported by the Ruspres agency, Nina Maslyaeva, a former accountant of the Seventh Studio autonomous non-profit organization (ANO), testified that Kirill Serebrennikov and two other theater workers arrested in this case implemented a plan to cash out and embezzle budget funds, and then forced her to pay false information in the financial statements.
A new defendant has appeared in the Serebrennikov case. Sofya Apfelbaum, a former official of the Ministry of Culture, is suspected of fraud. A Business FM source is of the opinion that they are simply looking for a scapegoat in this case.
Kirill Serebrennikov. Photo: Vyacheslav Prokofiev/TASS
Director of RAMT detained on suspicion of fraud. The Investigative Committee believes that Sophia Apfelbaum was in cahoots with Kirill Serebrennikov and participated in embezzling at least 68 million rubles from the budget. The theatrical community is sure that they want to make Apfelbaum a scapegoat.
In theatrical circles, Sophia is pitied - she has an impeccable reputation, she fought for a modern theater and has been very successful in the chair of the head of the RAMT for the last two years.
She got the position after leaving the Ministry of Culture, where she headed the department of state support for art and folk art. During the period of its work, those budget funds were allocated, the theft of which is suspected of by the former leaders of the Seventh Studio.
Where does the thread go: Apfelbaum, Serebrennikov, Vyrypaev, Surkov, Medvedev... and the FSB?
Strange sequence, you say? And you read...
Here, citizens, to my chamber blog "not for everyone" the other day there was a massive influx of visitors to an old post, this one -
In this post there were links to two more posts -
0. Apfelbaum
So, a couple of thousand curious people in the evening, which surprised me extremely and made me interested in the topic, finding out that the entire invasion was from a search query in the search engine "apfelbaum sofya mikhailovna biography", which issued this post second after Vicky.
The name "Sofya Mikhailovna" I generally remembered with difficulty, where should I be her biographer, but the materials to which the search phrase with him leads are indicative, all of them are united by the surname Surkov, as you can see ...
In general, I thought hard, deciding to refresh my memory of a case that I have not tracked for a long time, and this is what I found from fresh, be curious -
1. Surkov
Groundhog Shadow. Serebrennikov's case takes on a political dimension
The situation with the “Kirill Serebrennikov Theater”, known for its bare asses, continues to unwind slowly - and is already taking on the most political turn. While the creative community is calling curses on the heads of Putin's satraps, Serebrennikov is under house arrest, and his employees are under prison, there are leaks to the press about those who are still under suspicion. Sophia Apfelbaum, the former head of the department for financial support of theatrical arts of the Ministry of Culture of the Russian Federation, was named the other day (what a sweet position!)
In 2011, the Ministry of Culture, through Apfelbaum, organizes, as it were, a “tender” (we have Europe, without a tender, nowhere!) for a “large-scale theatrical project of contemporary art” at a cost of 214 million rubles. ($7 million for that money). And among the conditions of the competition, according to data from the UK, there is an amusing fad that the winner must have copyright or a license for the Platform project.
Since only his author of the project, Kirill Serebrennikov, had such rights, it was his “Seventh Studio” that won the tender. The scheme is as old as the world and is used wherever there is public procurement for a specific contractor.
Now Apfelbaum is sewing exactly this point - and the noose around the neck of Serebrennikov and his associates is being tightened more and more.
But here's the question: why did the Ministry of Culture forfeit such an amount to some, God forgive me, naked "Platform"? Who is her master of the federal budget - godfather, matchmaker, brother? - in order to build a fake tender specially for him?
Radio "Business-FM" with a bunch of reservations, constantly inserting the words "theoretically" and "probably", gave a very simple version, with which it is difficult to disagree.
It all started with the fact that the cunning Serebrennikov staged the play “About Zero” at the Moscow Art Theater based on the play by a certain Natan Dubovitsky, whose real name is allegedly Vladislav Surkov. And - hit the bull's-eye. After all, who was Surkov then? The “gray Kremlin eminence”, to whom the entire “ideology” of the country was subordinate, including, first of all, the Ministry of Culture.
So, according to the radio version, after the premiere of the performance, Serebrennikov approached the satisfied author (who joined the host - well, my plays are staged at the Moscow Art Theater, I am Chekhov!), And the author asked: “What do you need to be happy?”
So "theoretically" the "Platform" project was born.
That is, Apfelbaum (who is now tearfully repenting and has allegedly admitted “that she was negligent in checking applicants”) has nothing to do with it at all. She was given the go-ahead from the very top (from the Presidential Administration from Surkov, above - only Putin): they say a good man, a director, will come, you must give him everything he asks. The man came, she slept. And what was she to do - not to give? And the money is small - some 7 million greenery, in 2011 - tears!
And now she is being sued.
And it looks like they are actually digging under Surkov. Another "fight of the towers". Surkov wants to return to big politics - but he is not given through the "big theatrical business." Apparently they want to get evidence against him from Apfelbaum. It is possible that Medinsky's unexpected troubles with his dissertation are connected with the same "struggle of towers."
But at first it seemed like such a good move - to stage this graphomaniacous “About Zero”, which the king of the theatrical fee Tabakov was eager to produce, calling this play by an “unknown author” a masterpiece! Hop - and kings immediately.
But come on… I wouldn’t put it on - a century would not have made its way to big money and productions. Put - thundered in the end. Here, choose.
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2. Medvedev
Another interesting detail came up in the comments -
There, Medvedev appeared in the case:
“There was a letter signed by Medvedev - the president - about the allocation of money for this project. Then there was a decision of the government, and the Ministry of Culture carried out the will of the government. Sonya, by proxy, signed an investment agreement with Serebrennikov, ”said the lawyer.
https://zona.media/online/2017/10/27/ramt-mera
And then it turned out to be even more interesting, attention -
sergek26
October 28, 2017
What the hell are kickbacks, what kind of tenders? Do you know how to read documents?
This, b-b, "spicy point", as everyone except the Customs Union and the UK knows, is paragraph No. 3 of Decree of the Government of the Russian Federation of December 28, 2011 N 1191 "On approval of the Rules for the provision of subsidies from the federal budget to non-profit organizations for the development and popularization of contemporary art in the framework of the "Platform" project, signed by Putin V.V. in Moscow
"The Government of the Russian Federation decides:
1. Approve the attached Rules for granting subsidies from the federal budget to non-profit organizations for the development and popularization of contemporary art within the framework of the "Platform" project.
"In just a few years, the Platform project at Winzavod managed to emerge, change life and cease to exist, where operas of world importance were staged, performances and concerts were invented, and curatorial programs dedicated to the latest, modern academic music of composers born and studied in Russia were implemented. , then in Europe, who became notable figures in the European musical landscape, and after deciding that they also had something to do in Moscow.The composer Sergei Nevsky's curatorial projects gathered non-academic audiences for academic programs of the most relevant and high-browed persuasion - from high-profile opera premieres to tours and master classes. An entire generation of composers and musicians owes to the Platform, if not its appearance and design, then at least its heyday. But the Platform project was closed this year." (Yulia Bederova, 2015)
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3. Serebrennikov
So, citizens, "not everything is so simple" with the case of a certain Apfelbaum, whose last name, of course, is a red rag for many (and not unreasonably, it must be admitted, against the background of the activities of many of her creative fellow tribesmen), but in this particular case it would be worthwhile to figure it out here in what, not limited to what lies on the surface.
Why - created by a certain murky type Kiryusha S., a pederast and pseudo-director, whose entire innovation consists in breaking taboos and shocking, a certain murky project Platform, it turns out, is allocated state funding, in fact, on the fact that any new production belongs to this project?
BUT? Why would the state pay for the pederastic-pedophilic delights of Kira S., all the achievements and merits of which are in friendship with Aslambek D.?
And with what such a fright did the president (at that time) Medvedev approve of all this, in fact, the adoption by the state and the Ministry of Culture of a noble pederast?
Actually, I have already spoken on this topic more than once, here is the last one, in connection with the shockingly outrageous production of the anal-genital "Nureyev" already at the Bolshoi (which will be released soon, by the way, and this is not Matilda unfortunate for you) -
But that's not all, there was such a nuance, very curious -
Here is a quote -
..But, obviously, they considered it necessary to connect this second so-called service. Prior to this, the "sixth service" was considered more than sufficient in such situations. To be honest, I believe that this is the resonance that this situation around Serebrennikov causes. Perhaps influential people asked for it, but these demonstrations near the courts led to the fact that one of the most independent in the administrative and anti-corruption, so to speak, services was involved in the operational support of the case.
I previously heard that cases related to the Ministry of Culture, largely related to the billionaire Mikhalchenko, criminal cases of customs, security forces, are all projects of the so-called sixth service of the FSB, or otherwise called in narrow circles - the “inquisition”.
Once General Feoktistov worked there, who, in fact, initiated many cases against influential businessmen and officials. But, perhaps, this is some kind of new, let's call it that, fashion in power circles, because periodically, of course, one service increases, the influence of another falls. These are, in general, the secrets of the Madrid court. It seems to me that until now, when such services were involved in operational support and in general to participate in any cases, they were able to achieve guilty verdicts, maximum sentences for the persons in respect of whom they were developing.
Retired FSB Major General Alexander Mikhailov, who himself previously worked in such a unit, says that the "second service" is often involved in accompanying cases related to culture and art. He explained why.
“A service that is somehow connected with culture, it understands the processes that take place in this environment more deeply. Everything that is connected with the creative intelligentsia has a lot of fine lines. And it is unlikely that any units for combating economic crimes could understand the problem itself. Moreover, for Serebrennikov himself, this is probably more profitable, because the guys who understand what art is, it’s somehow easier for them to understand, including listening to some turbulent flows around this criminal case itself. Everything that the investigation requires, the "second service" will do in full.
A quote from a friend and defender of Serebrennikov Vyrypaev from there -
“I know very influential people from different fields (big business, art and science) who confessed to me in their position “to do everything in their power, but not to give themselves away in order to continue doing something until this change power”, but, excuse me, I stopped believing in the expediency of this method.
Do you really not understand that by helping, for example, sick children or by investing your money in private education, valuable support for Putin, you are doing a disservice to our entire future generation, who are forced to grow up and go to schools in Russia under this regime. A regime that today completely controls the education system, turning it from science into "propaganda". The same can be said about the figures of science and sports. Do you really hope that soon everything will somehow change by itself, and now you need to do your job and keep quiet? What is our business? In scientific discoveries? Plays and films? Or is our main business the education of a “free and open person for life”?
In 2018, we are waiting for the presidential elections. And most likely, Vladimir Putin will win them again, but we have a year to try to lower his rating as much as possible, and most importantly, his authority and the authority of this entire ruling ideology. Many of us communicate with people of big business and we know what dissatisfaction with the authorities actually exists in these circles, of course, among those who are not in the closest circle of the president. But fearing to lose their big money, the business hides and is silent, hoping to survive this time and, just in case, withdrawing its finances abroad.
After all, in fact, you are well aware of what this power rests on and how it works. Vladimir Putin is the guarantor of some kind of stability and order for his inner circle, who can earn their capital under the existing order. But as soon as the incumbent president loses his control over the masses, even his close friends will immediately become unnecessary, because looking at their faces it becomes clear what values these people have - only pragmatic ones.
It is possible to change power in Russia in a non-violent way and without even going to rallies. You just need to stop directing your personal energy to maintain this power. (note - this is the text of the manifesto already corrected by the author, initially it was about violent, see the post in full)
..During this year, you, having nevertheless an undeniable influence on a large number of people, and sometimes being authorities for millions, you can significantly reduce the position of Putin and his power in the eyes of our citizens, especially among young people. And if Vladimir Putin wins the election with less than the number of votes he expects, then his position in the eyes of those who are behind him should be greatly reduced. And from that moment on, the slow fading of the power of this power will begin.
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That's it. It is clear where the legs grow from?
And you say - "Sofochka", exposing the guilty switchman, acting within the framework of the highest command.
If only she, a high-ranking, but just a clerk of the Ministry of Culture, there, as you can see, there are completely different people in the subject and in share, you heard their names yourself - and the FSB really has something to do there, it seems ...
P.S.
By the way, the last material about Surkov, the finishing touch -
and a couple of old ones about him -
