Filed Under: Video > Entertainment > The Russian (Extreme Version of) MTV
The Russian (Extreme Version of) MTV
1 00:00:20,080 --> 00:00:24,000 AN ADVERTISEMENT FOR ORDINARY THINGS 2 00:00:27,040 --> 00:00:29,400 Sick again? What's wrong with you? 3 00:00:30,040 --> 00:00:32,920 Yes, Yulia. My trials continue. 4 00:00:33,080 --> 00:00:36,280 I went outside in the rain yesterday. 5 00:00:36,440 --> 00:00:40,520 I got wet through and now, as you can see, I'm out of sorts. 6 00:00:41,600 --> 00:00:45,200 The first thing I did when I got home was turn on the TV. 7 00:00:45,360 --> 00:00:51,360 There were a whole load of ads for anti-fever meds with paracetamol. 8 00:00:51,640 --> 00:00:54,960 I ran straight down to the drugstore and bought a ton. 9 00:00:55,120 --> 00:00:57,120 - And you know what? - What? 10 00:00:58,000 --> 00:01:03,200 My temperature went up and I got a headache and nausea. 11 00:01:03,360 --> 00:01:08,120 How silly of you! Didn't you try taking Ordinary Pills? 12 00:01:08,280 --> 00:01:11,680 Ordinary Pills? They weren't advertising those on TV. 13 00:01:11,840 --> 00:01:14,280 I want you to meet an old friend of mine, 14 00:01:14,440 --> 00:01:20,440 Vladimir Epifantsev from the Institute of Head Diseases at the Medical Academy. 15 00:01:20,880 --> 00:01:22,080 So, my friend. 16 00:01:22,560 --> 00:01:24,600 - Your head's hurting? - Yes. 17 00:01:25,040 --> 00:01:30,040 Before I started taking Ordinary Pills, I didn't even have a head. 18 00:01:30,200 --> 00:01:33,320 And now I'm growing a second one. 19 00:01:45,000 --> 00:01:48,800 Well, Yegor, which pills will you be taking from now on? 20 00:01:49,800 --> 00:01:51,040 I choose... 21 00:01:54,320 --> 00:01:56,440 Ordinary Pills. 22 00:02:37,200 --> 00:02:40,600 You can't see those gloomy cliffs afar 23 00:02:40,920 --> 00:02:44,120 Nor the mountains covered up with snow 24 00:02:44,280 --> 00:02:47,640 A thick mist here envelops everything 25 00:02:47,840 --> 00:02:51,000 The cabins and the cattle and the pines 26 00:02:51,360 --> 00:02:54,520 There's no way to move, so stop and wait 27 00:02:54,680 --> 00:02:57,640 Until all this at last has passed us by 28 00:02:57,880 --> 00:03:03,720 And looming from the mist so suddenly Things tangible and real come into sight 29 00:03:03,880 --> 00:03:06,880 The day will come when they become flesh 30 00:03:07,040 --> 00:03:10,120 The day will come When they're more clearly seen 31 00:03:10,280 --> 00:03:13,400 And to experience all this, God himself 32 00:03:13,840 --> 00:03:16,960 lets loose the mists upon the plain
Initially conceived as “the Russian MTV,” but broadcasted for only five months between 1997 and 1998—before being shut down for provocative content—Vladimir Epifantsev’s Dryoma (Dreams) was an extreme version of its Western counterpart (1981-). Along with music videos and interviews of Western pop stars, the show included striptease, BDSM performance, references to Greek tragedy and classical philosophy, and parodies of TV commercials degenerating into scenes of absurd and grotesque violence. It systematically violated Soviet and post-Soviet taboos and commonplaces while capturing and embracing the chaotic essence of the 1990s, appropriating the language of Western popular culture while inventing a specifically post-Soviet variant. And, like most of Epifantsev’s media performances, it represented an extreme and primarily physical way of challenging commonly accepted norms and beliefs.
Dryoma was supposed to be part of the nighttime slate at TV-6, one of Russia’s first private TV channels. Epifantsev was given carte blanche, with one stipulation: the show had to include an “erotic component.” The program was the epitome of low-budget production: its set a dark, seedy-looking Moscow nightclub, the striptease bar Grinkholl-Klub Utopia. Its live audience was a bored-looking group of teens sitting on an old couch. Its opening credits featured fast-paced editing and dissonant images—gas masks, nuclear explosions, close-ups of pupils —accompanied by equally dissonant music, screams, and moans. Its typical repertoire involved heavy flirting and petting between the two main hosts, Epifantsev and Anfisa Chekhova, with Chekhova acting provocatively while Epifantsev chain-smoked and grunted profusely. These sequences were interspersed with stripteases (presented as one of the show’s main attractions), nonchalant conversations about sex, and readings from Baudelaire and Rimbaud.
Monologues by Chekhova and the other hosts, like Pavel Egorov, Yulia Stebunova, and Oleg Shishkin, focused on random topics: the origin myth of the prophet Tyresia’s androgyny; Eastern philosophy and storytelling; and the tale of a parent smacking his child with a console to prevent him from becoming “too stupid” from playing video games. The show also contained surreal sketches parodying Soviet tropes and post-Soviet realia (“The Paranoid Soldier,” “The Teacher,” “The Sadistic Policewoman”). It featured fake commercials (i.e., commercials for common products that ended up being more entertaining than the originals), along with fake, mis-dubbed interviews of international stars like Einstürzende Neubauten, Elton John, or Aphex Twin. Dryoma’s targets included the absurdity of the post-Soviet experience, the violence and corruption of the Soviet bureaucratic system, and the newly discovered idiocy of mass consumerism. The show also skewered the putative ingenuity of older generations and the hypocrisy of a specifically late-Soviet form of political correctness—with its omnipresent calls for world peace, tolerance, and respect for the elderly—that many Soviet citizens had perceived as fundamentally oppressive.
Dryoma was supposed to be part of the nighttime slate at TV-6, one of Russia’s first private TV channels. Epifantsev was given carte blanche, with one stipulation: the show had to include an “erotic component.” The program was the epitome of low-budget production: its set a dark, seedy-looking Moscow nightclub, the striptease bar Grinkholl-Klub Utopia. Its live audience was a bored-looking group of teens sitting on an old couch. Its opening credits featured fast-paced editing and dissonant images—gas masks, nuclear explosions, close-ups of pupils —accompanied by equally dissonant music, screams, and moans. Its typical repertoire involved heavy flirting and petting between the two main hosts, Epifantsev and Anfisa Chekhova, with Chekhova acting provocatively while Epifantsev chain-smoked and grunted profusely. These sequences were interspersed with stripteases (presented as one of the show’s main attractions), nonchalant conversations about sex, and readings from Baudelaire and Rimbaud.
Monologues by Chekhova and the other hosts, like Pavel Egorov, Yulia Stebunova, and Oleg Shishkin, focused on random topics: the origin myth of the prophet Tyresia’s androgyny; Eastern philosophy and storytelling; and the tale of a parent smacking his child with a console to prevent him from becoming “too stupid” from playing video games. The show also contained surreal sketches parodying Soviet tropes and post-Soviet realia (“The Paranoid Soldier,” “The Teacher,” “The Sadistic Policewoman”). It featured fake commercials (i.e., commercials for common products that ended up being more entertaining than the originals), along with fake, mis-dubbed interviews of international stars like Einstürzende Neubauten, Elton John, or Aphex Twin. Dryoma’s targets included the absurdity of the post-Soviet experience, the violence and corruption of the Soviet bureaucratic system, and the newly discovered idiocy of mass consumerism. The show also skewered the putative ingenuity of older generations and the hypocrisy of a specifically late-Soviet form of political correctness—with its omnipresent calls for world peace, tolerance, and respect for the elderly—that many Soviet citizens had perceived as fundamentally oppressive.