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In the new Russia, even dictatorship is a reality show.
Professional killers with the souls of artists, would-be theater directors turned Kremlin puppet-masters, suicidal supermodels, Hell’s Angels who hallucinate themselves as holy warriors, and oligarch revolutionaries: welcome to the glittering, surreal heart of twenty-first-century Russia. It is a world erupting with new money and new power, changing so fast it breaks all sense of reality, home to a form of dictatorship—far subtler than twentieth-century strains—that is rapidly rising to challenge the West.
When British producer Peter Pomerantsev plunges into the booming Russian TV industry, he gains access to every nook and corrupt cranny of the country. He is brought to smoky rooms for meetings with propaganda gurus running the nerve-center of the Russian media machine, and visits Siberian mafia-towns and the salons of the international super-rich in London and the US. As the Putin regime becomes more aggressive, Pomerantsev finds himself drawn further into the system.

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But despite all the good news from the Caucasus, Black Widows still make it up to Moscow with rhythmic regularity. Over time their profile has changed: they are less likely to be the wives or daughters of those killed in the war in Chechnya. Instead they are from middle-class families in Makhachkala or Nalchik: the Salafi and Wahhabi preachers are doing their work. My journey to TNT in the mornings is on the subway. My line stops by the coach station, where long-haul coaches finish their fifty-hour journey from the Caucasus. On the morning of March 29, 2010, two Black Widows arrived there, descended into the subway, and blew themselves up a few stops into town, killing forty and injuring a hundred. This was done before 9:00 a.m. By the time I got on the subway a few hours later, the blood and glass and flesh entwined with metal had been cleaned away, and when I arrived at Byzantium and ascended the elevator to TNT, the whole thing, if not forgotten, was then out of mind.

There are no Black Widows in this neon-colored land.

• • •

When I went down to the Caucasus four years after Nord Ost , it was to work on a documentary about a local celebrity.

I landed in the capital of Balkaria, Nalchik, toward evening. Balkaria is right next to Chechnya, the other side from Dagestan. The suburbs were dark; streetlights are still a problem. Driving into town, the only brightly lit building was the brand new central mosque, paid for personally by the Kremlin-backed local leader, Arsen Kanokov. It’s a nouveau riche mosque with mirrored glass, faux-marble towers, and gold-plated crescents: new money and new religion in one prayer. Locals call it the KGB mosque, an attempt by the government to co-opt Islam. The young prefer renegade Salafi preachers. In 2005 Nalchik had been attacked by 217 Islamic militants, who had stormed the TV tower and government offices. It had taken the army days to defeat them, and there were one hundred deaths, including fourteen civilians.

“We were shocked when we found out the militants weren’t Chechens but local lads from the university where I teach,” a history professor, Anzor, told me when we had dinner that evening. He was doing a bit of moonlighting as my fixer. “I don’t know what my students think about, it’s like they speak another language to me. My generation were all Soviet. But my students, they don’t feel Russian. There’s nothing to bind them to Moscow.”

The waitress brought more tough, smoked mutton. We were having dinner in the Sosruko restaurant, the town’s most famous, named after a local mythical hero, a sort of Hercules. The restaurant, twenty meters high and concrete, is in the shape of the head of a medieval knight, with helmet and huge moustache, perched on a hill above the town and lit up in neon green, the only building well lit aside from the new mosque.

“When my pupils go to Moscow they have people on the street tell them to go home. But yet we’re part of the Russian state. Not immigrants. So what does that mean: ‘go home’? Meanwhile there’s no work here for the young,” continued Anzor, “and only the Wahhabis spend time with them.”

The next morning I could finally see Nalchik clearly. The center was neat, with perfect beds of bright flowers in front of government buildings in Soviet elephantine neoclassicism. Mount Elbrus loomed over Nalchik like a bully threatening violence at any moment. The celebrity I had come to meet was one Jambik Hatohov, at the time the biggest boy in the world. Seven years old, he weighed over a hundred kilos. Tabloid hacks and television crews would fly in from across the world to take his picture.

I drove out of town to his mother’s apartment in a suburb of Soviet matchbox blocks standing crooked on uneven dirt roads (the local FSB following, to make sure I wasn’t meeting jihadists on the sly). The staircase was dark, the green paint peeling. The mother, Nelya, opened the door for me. Inside the apartment had been refurbished in the IKEA style, paid for by Jambik’s media appearances. Jambik was in the bath when I arrived. I could hear him splashing and squealing and snorting. I went in to say hello. He was so overweight his penis was covered by flab, and his toes and eyes barely peaked out. He grunted rather than breathed. There was water all over the floor, and he was sliding up and down in a bath he could hardly fit in, splashing water everywhere. He charged me when I came in, and I was slammed against the door.

“He never had a father,” said Nelya. “He needs a man in his life.”

We went into town. It was the “day of the city,” the state-sponsored party to instill local pride. There were fairground rides and sporting events. Jambik was known by everyone; he was a star. “It’s our Sosruko, our little warrior!” locals would cry as we passed through the festival. Everyone gave him food: shashlik, smoked mutton, Snickers, pizza, Coke. They let us on rides for free. Jambik ate all the time, grunting. When Nelya tried to stop him he would scream like a burglar alarm and hit her with the full weight of his hundred-and-something kilos.

We stopped to watch a wrestling competition. There were fighters from several North Caucasus republics (Dagestan, Balkaria, Ingushetia), who represented themselves rather than “Russia.” There were Olympic champions; the North Caucasus produces the greatest wrestlers in the world, and it’s always a problem for the local wrestlers to feel they win their golds for “Russia.” But for many young males the choice is between jihad and wrestling. Nelya hoped Jambik would grow up to become a wrestler, though the local trainers all told her he was too slow. Nelya thought he might make it in sumo.

After a while I noticed Jambik’s speech was slow and slurred.

“How’s he doing at school?” I asked Nelya.

“Oh, he’s such a star they let him pass into the year above without taking any exams,” said Nelya.

We flew Jambik to Moscow, where he appeared on Russia’s number one talk show and pushed a Jeep for the cameras. He auditioned at Russia’s top children’s TV sketch show.

Meanwhile concerned doctors met with Nelya: Jambik was not a warrior, they explained, but a very sick child who needed help or he would die. She needed to put him on a diet, change their lifestyle. Nelya didn’t want to know: he was her bloated, golden goose and their ticket to another life. I felt for her; I had seen what happened when she tried to deny Jambik food.

“God has willed him to be this way,” she insisted.

When we parted Jambik hugged me so hard I could barely breathe. Later I heard that he had received an offer to study sumo in Japan. That had always been Nelya’s dream for him. But the sumo never did work out for Jambik. Soon the family was back in Nalchik. A couple of years later an even bigger boy was born, in Mexico, and some of Jambik’s star allure was lost. At the age of eleven he weighed 146 kilos.

• • •

“Switch on the news,” said the text message form one of my producers on Hello-Goodbye . “The fuckers wrecked our set! Our set!”

A suicide bomber had blown himself up in the arrivals hall of Domodedovo international airport, where we had earlier shot Hello-Goodbye . On the news CCTV footage showed a blurred figure walking across the hall, then the shot was filled with a burst of blinding bright light, and when we saw the hall again it was full of blood. Thirty-seven people died. One-hundred-eighty were injured. A mass of worried messages jammed my phone: I was nowhere near the airport at the time, and the series had been scrapped long before the bomb went off.

Domodedovo is the newest of Moscow’s three airports. It’s all glass and light, swept marble floors, cappuccino bars, and bikini boutiques. When I made Hello-Goodbye I spent a lot of time in Domodedovo. I know every place the smoke alarms are dummies and you can have a crafty fag, when the best light floods through the glass walls to get the best shots, how to cut a deal with the customs guys so they go and buy you duty-free whisky. I know which flights bring in which type of passenger and what stories they bring with them. Our presenter, dressed in a bright orange shirt, would walk around the airport and talk to people parting or meeting: slow-kissing lovers parting as he leaves to work in San Francisco; funny lads off for a dirty weekend in Thailand; a secretary waiting for her boss, whom she is secretly in love with, to return from a business trip to London. A microcosm of the new, middle-class Russia, the first Russian generation that not only flies but even flies abroad as a matter of course, a generation’s aspirations under one high-domed roof, in this bright new airport in a bright new nation.

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