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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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“How does the new, religious you make sense of the past?” I asked.

“When I was baptized all my sins were washed away,” answered Sergey.

“But do you feel guilt for what you used to do?”

“I was a demon, but I was still fulfilling God’s will. All my victims must have deserved it. God only punishes bad people.”

On the flight Sergey was trying to write a film script. It was to be a modern spin on the old Russian fairy tale of the “three bogatyri,” huge knights of unnatural strength who traveled old Russia taming dragons and invaders. In Sergey’s version the “bogatyri” were former gangsters.

When we finally landed in Vladivostok (the nearest airport to Ussuriysk) I expected to see the orient; we were, after all, 1,000 km east of Beijing, where Russia meets the Pacific. Apart from Vitaly this region is famous for its tigers. But instead it looked like more of the same Russia, the same green-brown blur of hills and thin, unhappy trees. We might as well have been in suburban Moscow. Vitaly’s crew were at the hanger of an airport to meet us: young, polite men with darting eyes, shell suits, gold medallions, tidy haircuts, and neat nails. One brought Vitaly a new Jeep, a vassal fetching his lord a new, stolen steed. No plates. We drove in a spread-eagled cortege across both lanes of the highway, so fast it made me first scared and then ecstatic. Vitaly ignored the first traffic cop who waved at him, then stopped for the second one. When the cop saw who it was, he waved him on.

“They know better than to mess with me,” said Vitaly.

Vitaly didn’t need to stop. It was all just demonstration, just to let everyone know: he’s back.

We sped into Ussuriysk itself, past the oversized, windy central square, designed with military parades and not human beings in mind. The cinema, town hall, and swimming pool were all in the same stiff Soviet classicism. Wide avenues led to nowhere, stopping abruptly at the endless taiga. You find the same towns throughout the old Soviet Empire, all designed in some Moscow Ministry for Urbanism, awkward and ill at ease.

The town was clean. Quiet.

“Us gangsters keep this town disciplined,” said Vitaly. “There used to be druggies, prostitutes. Teens with long hair. They wouldn’t dare show their faces now. We showed them who’s boss. I don’t even let anyone in my crew smoke cigarettes. If anyone of my boys were to get drunk in public, I’d give them such a beating.”

Vitaly was a celebrity here. When we walked down the streets teenage girls with large shoulders and short skirts stopped to have their pictures taken with him. When we paused by a school the kids saw him through the window and came running out, mobbing Vitaly and thrusting forward their math books and homework pads for him to sign, the teachers smiling benignly.

His new film was to be about his teenage years, in the late 1980s, when the first gangsters emerged together with the first businessmen. The next day Vitaly was casting teens to play his younger self. A crowd gathered in front of the Palace of Culture and Leisure, the old Soviet theater. Fathers had taken their sons out of school and brought them to try out for the parts of the Young Vitaly and his first gang.

“I want my son to learn about our history,” said one of the dads. “The gangsters hold this town together, keep it disciplined.”

Vitaly did his casting in a rehearsal room. On the walls were pictures of Chekhov and Stanislavsky, the great Russian inventor of method acting. Vitaly had the boys walk up and down the room:

“You need to walk like gangsters, like you mean it. Don’t look to the sides. Don’t look tense. Imagine everyone’s looking at you. Slowly. Walk slowly. This is your territory.”

He picked out a few of the boys. They were thrilled. He lined them up against the wall, scanning the line, choosing which one would play him.

“Too short. Too fat. Too loud. You. You’ll do. But you’ll have to cut off that forelock.”

The kid he chose was the quiet one (and the best looking). His name was Mitya. He studied history at the local college. He seemed entirely emotionless at the idea of acting out Vitaly—or maybe he was just in the role already.

Vitaly drove him to the local park for a lesson on how to play him.

“See those kids over there? The ones drinking beer over by those benches? I want you to go over and tell them to leave. And get them to pick up their litter, too. Act like you own the place. Talk quietly. Firmly. Instruct. Let them feel you’ve got numbers behind you. Imagine that you’re me.”

The kid did well. His menace came in the pauses between the words. He told the drinking boys to pack up. Just as they were leaving, he threw in the little humiliation: “Don’t forget your rubbish.” That touch was pure Vitaly: always looking to jab you with a put-down. (“That camera you use is so small Peter, don’t you have a real camera?” he liked to ask me, or “you don’t know how to interview; am I going to have to teach you?”)

Mitya seemed a good boy, who would finish university and probably go on to a career in a state corporation. But his behavior, his style, was already pure gangster.

“Do you think Mitya could be as good a gangster as you?” we asked.

“He has potential,” said Vitaly, “but he would need to toughen up a bit. By his age I was already serving my first term in prison for racketeering.”

We went to see Vitaly’s parents. I had hoped they would help explain the way he is, but I was disappointed. Vitaly’s father was a hard-working factory man, used to soldering parts on tanks. He was small and shy and talked about fishing. Vitaly’s mother, slightly tipsy but polite, kept a neat home. They seemed frightened of Vitaly themselves, and he was so disdainful of them he wouldn’t even enter the apartment.

“He had been a tear-away at school,” said the dad. “We so hoped prison would help calm him down. That he would come out and get a normal job at the armaments factory. But when he came out of prison you could tell he was a big boss already.”

Prison was Vitaly’s alma mater. This part of Siberia was full of them. Everywhere you looked were barbed wire, watchtowers, and concrete walls. We shot an interview with Vitaly as he gazed toward where he had first served time.

“Everything I learned was there,” he said. It was the first time I’d seen him even vaguely sentimental. “You have to prove you’re a real man and not a chicken straight away. You don’t cry, you don’t blabber, you don’t let anyone tell you what to do. Only say what you mean, speak slowly, and if you promise something, keep it.”

Vitaly had served five years that first time. He had first gone inside in 1988. When he came out in 1993 the whole universe he had grown up in was transformed. The Soviet Union had disappeared. Everyone who had previously been someone was suddenly a nobody. The teachers and cops and judges went unpaid. The factory workers were making fridges and train parts no one needed. The war heroes were penniless pensioners. When he had been first put away, men like Vitaly had been destined for a life on the margins; they were shpana , scum. Now, suddenly, he sensed this was his era.

“Why would I work for pennies in a factory like my dad? That would be crazy.”

The only values in this new Ussuriysk were cars and cash. The gangsters could access these things the fastest, with the most direct methods. But they didn’t just extort and steal. Businessmen called them in to guarantee deals (if one partner reneged, the gangsters would sort him out); people turned to them instead of the uninterested police to catch rapists and thieves. They became the establishment, the glue that holds everything together. In this new world no one knew quite how to behave: all the old Soviet role models had been made redundant, and the “West” was just a story far away. But the gangsters had their own prison code, which had survived perestroika. And this made the gangsters more than just feared bullies. They were the only people in this lost, new Russia who knew who on earth they were and what they stood for. And now in the twenty-first century, although many gangsters were out of a job, their way of behaving has become ubiquitous.

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