Review
Books
Change
Politics
4 min read

Russia’s waiting reformation

Putin’s world is not the only take on Russia.

Simon is Bishop of Tonbridge in the Diocese of Rochester. He writes regularly round social, cultural and political issues.

Graffiti on a wall, spells out in Russian character the name Navalny.
Anti-Putin pro-Navalny graffiti, Saint Petersburg.
Dor Shabashewitz via Wikimedia Commons.

When I presented the book I Love Russia by Elena Kostyuchenko for purchase at the counter, my only thought was for what the bookseller would think.  Was I a Putin sympathiser and apologist for the war in Ukraine?  It says a lot about how we have unconsciously embraced Putin’s world as the only take on Russia.  There is an indigenous saying that Russia is not Moscow and Moscow is not Russia.  By the same token, Putin is not Russia, however much he would like us to think this; it is naïve and prejudiced of us to allow the largest country in the world to be defined by its dictator. 

Elena Kostyuchenko, and Alexei Navalny in his posthumously published book Patriot, belong in different generations to Putin and inhabit another moral universe.  Navalny has done more than anyone to call out the epic levels of corruption and dark cynicism of the Putin era.  This is a Mafia state, as Luke Harding observes.  Navalny believes there are twenty people who rule in Russia, with staggering levels of visible and hidden wealth, and a further one thousand who eat from their trough.  The rest of the country includes those who are duped by state media, those who don’t want to know or keep their heads down or don’t care, and those who testify to the truth.   

This latter cohort shows remarkable courage, because they are being silenced, one by one, through prison or murder.  Navalny died in prison after previously being poisoned in Siberia; Kostyuchenko was poisoned while in Germany and has been targeted for assassination elsewhere.  Before them lies a sobering roll call of journalists and politicians like Anna Politkovskaya, Boris Nemtsov and Igor Domnikov whose murders are clearly attributable to what they have said about the crimes of Putin and his associates. 

Elena Kostyuchenko’s journalism takes her to Russia’s abandoned people and places.  Derelict and decaying hospitals where the young, the addicted and the dispossessed gather; the mothers of Beslan who are beaten up and persecuted because they want the truth about that fateful siege; psychiatric hospitals with no resources or patient care; landscapes depleted by corrupt extractive industries.  She is inspired by the fearless reportage of Politkovskaya and her writing bears the imprint of Svetlana Alexievich, with its gift for listening and attention to the wonderful ordinariness of human life.  Her walk down the dark parade of Russia’s casualties is a tribute to the finest traditions of journalism, which carry the echo of the voice of Christ in their attention to those who lose out in this world. 

In prison, Alexei Navalny learned the Sermon on the Mount by heart; his conversion from the routine atheism of his Soviet upbringing being triggered by the birth of his and Yulia’s first child, Dasha.  He is wry, sardonic, stubborn, implacable – displaying an other-worldly willpower.  It is hard to compute the courage it took to return to Russia after being poisoned with Novichok, knowing it would surely lead to imprisonment, mistreatment and death: 

One day I made the decision not to be afraid.  I weighed everything up, understood where I stand – and let it go. 

Of the pain inflicted on him in prison for speaking the truth about Putin’s Russia, he says: 

I have decided that this is my own pared-down version of suffering for the faith, a moment of suffering for being a believer.  Happily it does not entail being dismembered, stoned to death, or having the lions set on me. 

And yet the totality of his life was not far short of this.  He skates over much of the abuse, but references being woken every hour of every night for a personal roll call.  When other prisoners were primed to shout at Navalny for long periods from close range, it is deeply moving to visualise him shouting back and not backing down.  Over time, his bespoke prison regime became steadily more abusive and isolating, directed in his view from the Kremlin. 

There is absurdity at the heart of the system and he confronts those responsible for it, rather than meekly submitting to it.  In the late Soviet era, criminal law was so comprehensively drafted that anyone could be picked up for an infringement if this was politically expedient.  In Putin’s Russia, we have returned to the Stalinist period where offences are simply made up in a dark Wonderland.  It is rule by law, not of law. 

The editor of Novaya Gazeta, Dmitry Muratov, uses a particular metaphor.  He says that Putin and his Kremlin officials act like priests who mediate a believer’s relationship with God.  They have become intermediaries for how Russians are supposed to experience their country, telling them what to think and feel about it.  If so, then Russia is ready for a new reformation, where people claim their own organic relationship with a nation that means so much to them.  There are already enough martyrs for this new reformation while Putin continues to speak power to truth.  Those of us who care about its people and its future do not need Putin’s malign priesthood to interpret Russian life.  There is a different Russia, waiting to be discovered.      

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Article
Culture
Film & TV
5 min read

The death of Hollywood

Out of the ashes, new stories will rise

Theodore is author of the historical fiction series The Wanderer Chronicles.

Studio executive's react.
Seth Rogan's The Studio, a Hollywood satire.
Apple TV.

There is no more obvious sign of the ailing of the Hollywood behemoth (if not to say, its actual death) than the utter failure of Disney’s latest live-action re-release of Snow White

According to Forbes, Disney’s total investment in the movie, including production and marketing, likely exceeded $350mn. To break even, it would have needed to take around $500mn gross at the box office, after distribution and movie theatre cuts. To date it has made just under $200million. 

If nothing else, that is a tremendous waste of money. But the essential problem seems to have been that the movie’s creators were trying to bend themselves (and the story) into pretzel-shaped contortions to satisfy the various demanding (and contradictory) ideological axioms of LalaLand. The result? Not only do they fail on their own terms: a movie about a young princess finding her inner girl power and leading an oppressed people to overthrow a tyrannical autocrat ends by setting up a new regime under one unchallengeable and all powerful ruler: a system of “Snow-White Supremacy”. It also fails on the archetypal axioms of story. There’s a reason why parents still read to their children the traditional version of Snow White, which scholars believe to be so long-living and so “true” that its roots seem traceable as far back as Ancient Greece. Modern storytellers mess with that long lineage of audience appeal at their peril; as no doubt several Disney executives have now found to their cost. 

Last month the veteran Hollywood screenwriter and novelist Andrew Klavan concluded, after watching the last annual offering of glamour-slick virtue signalling that is the Oscars, that Hollywood is indeed a dying beast. He argued that the collective movie-making culture has become so captive to a certain ideological mindset that it has prioritised that over the more basic and primary objective of telling stories. When ideology overrides the essence of storytelling - delivering stories reflective of life as it actually is and as we find it - then the art suffers and audiences instinctively turn away.  

Why? Because we all come to stories to find truth (even if it is dressed up in the “lie” of fiction). The problem with the ideological mindset approach to storytelling is not that it does not start with good intentions (let’s say a value like “compassion”); but that it drives towards and ends with outcomes very far from life as we know it to be. So, for example, compassion for allowing female-identifying men into women’s sport ends up with Olympic crowds applauding a man punching various women in the face to earn himself a gold medal. Or well-intentioned young people marching throughout the cities of Europe in support of terror groups who behead babies. There is a cognitive dissonance between the makers of movies imbibing and propagating this sort of mindset and their audience of millions. 

No wonder those audiences are tuning out. Because the central thing that people want from art are good stories. Good stories make us nod and say: yep, life is like that - however far-fetched the premise or the setting may be. Bad stories make us feel like someone has tried to sell us a lie. They are “phoney” - and at a gut level, we know it. 

So, if Hollywood’s time in the limelight (and the pay dirt) may be running out, where should we look for a new resurgence (dare we say, resurrection?) in the art of storytelling? 

“Two are better than one because they have a good reward for their toil.” Collaboration seems to produce the goods.

It would be foolhardy to come down too hard on an answer to that question, since ultimately stories can and have come from anywhere. But if I had to lay down money on the kind of environment out of which any resurgence in the storytelling industry (whether of the moving image or the written word) will come, I would be betting on some sort of life-affirming, collaborative, creative network or community based around the foundational values of truth, goodness and beauty, and motivated by a shared desire to see the renewal and revitalisation of  Western culture everywhere.  

Such networks have been springing up with the ubiquity and rapidity of mushroom colonies all over the West, particularly in the US and across Europe. 

 Angel Studios has emerged as one of the more front-footed of these. This is a US-based media company that produces and distributes films and TV series with inspirational and faith-based themes: projects like The Chosen - the globe-conquering pay-it-forward re-telling of the Four Gospels - and Sound of Freedom, the latter grossing over $250million worldwide. (Disney take note.) 

While Angel’s content may have arisen out of niche audience demand (it was founded as a successor to the VidAngel app that sourced child- and faith-friendly content), other collaborative networks exist with a broader mission for cultural renewal. The Everything Network is one such example. A UK-based Christian network of leaders across multiple fields of society, it operates from the principle that, for centuries, society has benefitted from the way Christianity has contributed to the whole of life: from the art we create, to the laws we make, and the way we care for those in need. If God cares about everything, then the invitation persists for us to work towards the renewal of all things. 

This includes the stories we tell. Hence, under one aegis, authors, poets, or screenwriters are connected with financial backers, producers, directors, animators, marketeers and so on. Implicit within the network’s mission is a recognition that stories have the power not just to entertain, but to change the world. For good and for bad.  

Just look at the Bible. 

At a more modest level, creative networks are coming together all over the West: in churches, across the broader arts and entertainment landscape and so on, in part as support communities for people working in those industries, but also as incubators for collaborative output. Some are more ambitious than others. And many are proving the truth of the proverb: “Two are better than one because they have a good reward for their toil.” Collaboration seems to produce the goods. 

So, if truth, beauty and goodness are the weapons on the battlefield of imagination, and the soul of the world is the prize, perhaps these emerging creative networks are the divisions, the battalions, the platoons deployed along the front line. Time will tell which are most effective. 

What is certain is that, long after Hollywood’s spell over us all is broken, humans are still going to want to hear good stories. Stories that tell us something meaningful and true about life as it appears before us.  

I’ll have my bucket of popcorn ready just in case.

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