the widow of the murdered man, she had her hand on the knife, in a state of effect, having found her husband, she grabbed the knife, who had held this knife before, not the analysis itself, and the investigation will have to find out, the whole city is absolutely sure of her guilt, therefore both the city and the authorities are interested in the quickest possible closure of the case and the burial of the body, because the mayor has his own corrupt share in the clinic, he does not want to lose it, the head of the ...

is able to break the whole structure finally find out the main thing, that the wonderful doctor, of course, cried on the orient express, who remembers this novel, all the characters had some reason to kill the villain, everyone took part in this case, so all the characters of the city of ozersk, who had... some scores to settle with the wonderful doctor venishev, had to line up and pass each other a smoking blade, whoever did this, the investigation is doing this, the doctor constantly beat his wife, tortured his family, children, the dog of everyone else, in general, the usual theme of our own national feminist valeriagermanika, the director of this film, in general combination... the following picture: in

the following characters are grouped around the murder in the city: first, a widow who was constantly beaten as a preventative measure, but whose beatings and powdered bruises the entire city did not pay attention to, since they had such a happy , exemplary family, the eldest daughter, already an adult, a gorgeous beauty, with a slightly short haircut, played by maria mikhalkova, konchalovskaya, in his mind...

receiving some dividends from the common cause and expecting to continue to receive them, and the mother of the deceased, an honored teacher of russia, who claims guardianship over the children, if their mother is put in prison, and accordingly on part of the inheritance, a mysterious manager who smiles very badly and claims a share in the clinic, judging by her bad smile it becomes clear to everyone that he is well versed in black shadow accounting can always ...

it is none of your business, the merit of the picture should be attributed to the fact that germanika retained the old name, the name of the first season, but completely moved away from the previous heroes, from the raped teacher who takes revenge on her offenders, does not lead the situation to the fact that she is raped again and the plot is completely profaned by repetition, she takes exactly the same city, cute on the outside and disgusting on the inside,

imbues a current, quite exploitable name with a new meaning, as for mutual consent, there is even... even a general agreement that the wonderful, beloved, tyrannical, polygamous doctor venishev has lived too long in this world, a fairly large number of people want to kill him, that's where he belongs, well, if we use the analogy with the orient express, even that would be more relevant, because after all, people of such size never die from a single stab to the peritoneum. judging by the screen shots, the blood loss was not very large, but the authors still decided to spare the target audience, the audience is women, if they were to tell them how to put wonderful doctors on the knife, then there are not enough wonderful doctors in russia,

this distinguishes the series mutual consent 2 favorably, just from the already mentioned series prestige, and there is not a single decent character here or there,

i don’t know, but still the script is very good, and as for the actress mikhalkova and konchalovskaya, it can be predicted in advance that she will receive a lot of curses on the internet for her relationship, but nevertheless, a short haircut suits her very well, and an additional bright brunette will not hurt our acting pool at all. this was a podcast by gary ognem and me, its host denis gorelov, with a story about the most relevant, most striking premieres. in theatrical release and in tv series production. you can find all the episodes of the podcast grief ognem on the channel one website.

hello, i am dmitry bak, we have right here right now the next. edition of the literary podcast, let them not talk, let them read, we are talking about very different writers, about classics about our contemporaries, but today we are talking about a man who passed away quite a long time ago, but his prose, his stories, his larger works are still very relevant, they are still argued about, their names are remembered, these are, for example, stories like nervous people, like a bathhouse, but... and others, of course you guessed that we are talking about mikhail mikhailovich zoshchenko, he would have turned 130 this year on august 9, we will talk about him today with vera mikhailovna, zoshchenko, the great-granddaughter of mikhail mikhailovich,

actress, tv presenter, hello, vera mikhailovna, hello, and also with maria alexandrovna kotova, head of the scientific and methodological department of the state moscow museum. mikhail afanaschakov. hello, masha. hello, dima. let's be informal, as in life, that's how it is with us. well, let's talk about zoshchenko. let's start the conversation with this: well, zoshchenko flourished in the twenties years, gained fame, gained popularity, became overgrown with legends and stories, his life, or rather, the twenties - this is such a turning point. is there something special about mikhail mikhailovich against the background of other russian writers of that time, i always, when i speak with students, introduce this criterion: did the person have time to go abroad before the revolution, to study abroad, or did the world military revolution overtake him already in his early youth, like it was with zoshchenko against the background of the same bulgakov or pelnyak or vseld

ivanov. zoshchenko did not have time to go abroad border, like bulgakov, and it seems zoshchenko, like bulgakov, was restricted to travel all his life, and he never went anywhere, the revolution for zovchenko, it seems to me, was. the determining factor in his literary development and he counted his literary path from 1921, although he wrote before that, and he wrote stories,

you mentioned, of course, about - the story before sunrise, and we will talk about it a lot, but now we will talk about early zoshchenko. let me ask you about this: in your family, what did they say about mikhail mikhailovich, what traditions were there, what could there may be stories that are unknown from his texts, but still it is not every day that you find yourself opposite the great-granddaughter of mikhail mikhailovich zoshchenko, well, here may be a short answer, none, none, none, here.

the first year, from the same twenty-first year, it included very different writers

, all, here ivanov, konstantin fedin, mikhail slanimsky, lev luns, lev luns, veniamin kaverin, some had a very, well, such a happy fate, yes, they, koverin, for example, everyone knows him as the author of two captains, although he is much broader than just the author of this novel, but still, mash, how could this happen?

trader tomorrow after the program time, arin, i decided to give you a surprise, we have a problem with the iraqi courier, in the twenty-first year, what happened, well, there are many dissatisfied, but for what, for what did they fight, when again around the nepmans, the slogan get rich, when again firms and mirilis appear, for example, in moscow and... and the current tsum and so on and so forth, that is, new types appear, well, like in the story aristocrat, yes, that is, in russia there is a country of six estates, an empire, i mean you see, these are nobles, these are clergy, these are merchants, these are peasants who were serfs until the sixty-first year, these are mischans and cossacks or cossacks, whatever you like, these are the six estates,

each of which has its own destiny, yes, cossacks, army and borders, nobles. management, well, merchants, big business, petty bourgeois, small business , who is left, clergy, culture and morality, suddenly everything gets mixed up, here is an aristocrat, for example, why take her to the theater? yes, it seems to me that just when nep came, it became very clear, firstly, this stratification, that there are nepmans, and there are proletarians, these real people, on behalf of whom zovshchenko spoke, they did not have their own voice and their own representative in literature. in the stories of the proletarian real working people, ilstam said that zoshchenko wrote the bible of labor, and we do not appreciate him. mandelstam highly appreciated zoshchenko's stories and... chukovsky wrote in his diaries that zoshchenko proudly told him that for mandelstam they tell him about these proletarians, working, working citizens,

like an element, and it seems to me that the nepmans here acted as such a background for bulgakov, because it was an era in which this new proletarian worker was completely confused, old culture, new culture, you have to take him to the theater to buy a woman. the main class there, not a class, the estate of the nobility, here the proletarian, who is broken by this feeling. zoshchenko's hero is a broken man, yes, problematic,

inharmonious, and all this is a hero, a hero of the twenty-first year, yes, yes, because the cossacks were disowned, the nobles left, the priests, the priests, were defrocked, the kulaks, exiled siberia, and so on, that is, zoshchenko grasps it.

and russian literature in the 19th century, in the middle, it calls on this person to notice, to give him his due, and as you correctly said, mikhail mikhailovich follows this, looking

at another person, as far as i remember, he even had a pseudonym makar devushkin, he also chose different aliases and gogol is one of the most beloved writers, and dostoevsky, we all came from gogol, this is all true, but this is another little person, let's return to mikhail mikhailovich and... announce the continuation our conversation, which will be in the second part of the program, and it will concern, well, not exactly a new zoshchenko, not exactly another zoshchenko, but still a person who made a very significant discovery for himself, well now, as you certainly remember, our esteemed interlocutors, in the middle of the program we have an author's column, that is, mine, and i do one of three, i either show an old book. cooks from its shelves in no case from the museum where i work and maryana works, or i quote a poem, analyze it, or a fragment from prose, today it is an old book,

a poem by apollon grigoriev, which in the sixteenth year was collected released by alexander alexandrovich blok, here it is written directly, collected and supplied with notes by alexander blok and alexander blok to large fonts, because well for readers it is not yet known what is more important apollon grigoriev. well, that is , contemporaries are looking in very different directions at this time, someone is aimed forward, someone is looking and catching those instant.

the whole country knew him, photographs were sold everywhere, well, that is, it was simply really wild popularity, which yes brought problems, including, how dare you , how dare you leave me, we had an affair, wrote to him, but i was not there, i don’t remember who you are, and how many sons he had, i think that yes, lieutenant schmidt, of course, this is understandable, well, a good parallel, because really, well, a little earlier , about... 15 years ago, the tradition of poetry performances began, literary, public, not evenings for their own, but touring, yes, balmon, a northerner, already in the 1910s, but later, the maginists and yesenin and maringov, but mikhail mikhailovich also went on tour, practically, yes, the experience was unsuccessful, obviously, it is worth admitting, yes, but nevertheless, nevertheless, imagine on tour, i don’t know, turgenev or

tyuchev, who... back in the early twenties, when he began to publish these collections, one of his friends said that zoshchenko writes some kind of nonsense, but at the same time with... it’s terribly proud of the demand and huge print runs, that is, it was important for him that he had his own this new reader, and the reader approves of him with his ruble, goes, votes with his ruble, buys books, of course, in the twenty-ninth year he published letters to the writer to show critics that look, people read me and love me, critics began to oppress him from the twenty-seventh year, oppress him with all their might, because mikhail mikhailovich was mature in this, that he

succeeds in communication, which ... he just planned, they heard him, that they laughed out loud for 2 hours at the concert, he died for 2 hours, then how sad it all is, therefore mikhail mikhailovich believed that having bought a book, having read, having such an audience, reach, people, having laughed at first, will take steps to change, because remember all these phrases, it's a pity for the person you're laughing at, that it still works. in soviet times they talked about satire. soviet satire, it scolds those who live incorrectly, if someone somewhere here and there, as they sang much later in one tv series, doesn't want to live honestly and so on, isn't it strange, isn't there a paradox here, because, relatively speaking, fat and thin or chameleon, i mean chekhov's characters, yes, they don't they will buy those stories where they are above them, where they are exposed, where they are nailed to a pillar

of... styrene and so on, that is, in satire there is always some, well, distance between the one who utters some moral truths and the one who is subjected to ridicule, as a primitive person, as an insufficient person, this is the seventeenth.

it still exists, it leads first to the blue book, yes, where a large form is sought, because zoshchenko, well, like chekhov, like overchenko, like tefi, like potapenko, well, does not write novels, yes, he does not write, does not work in in a large form, but the blue book is... already transitional - a collection of novels, but united by a holistic concept, it is again oppositional, it is again not traditional, yes masha, it does not correspond to the ideology, it does not correspond at all, and it seems to me that this raised questions from the authorities, because on the one hand it

is not openly anti-soviet, it is loyal, i have always gone with the people, and it is not, there is no opposition there, but on the other hand it is very different from what was done in the thirties. and this caused this is the very edge of the twenties and the thirties and the beginning of the thirties, the blue book - this is, in my opinion, thirty-fourth-thirty -fifth year, returned youth thirty -fourth, and it seems to me that it was precisely he who raised doubts about his sovietness, legitimacy, because he did something completely different, what he considered necessary to do, he had his own idea of ​​what soviet literature should be like, and he consistently tried to do it, this is a very important thought, new, but mine, yes, not how you dictate, well...

before sunrise - this is a metaphor, yes before sunrise - this is a paraphrase in gaopian before sunset there before the end of life, and for him before sunrise, before the beginning of life, that is, this is what is laid down in the prenatal period our imprints.

now we would call this a major depressive disorder in which a person is, his entire biography led to the fact that he went the way, from the very top, to the very bottom back, and he learned that circumstances do not affect how you feel.

you can't say what you don't think, so

we came around in a circle to this an important event, to august of forty-sixth year to the famous complex of different party decisions, which this complex led to the infamous resolution on the magazines zvezda leningrad, and there are two formulas, yes, that is, zoshchenko is the one who depicts the soviet man as a monkey, and akhmatova is a half-nun half-harlot. and he is vulgar, yes, a vulgar bastard, and this is a complete misunderstanding of what is happening to people, because she is andreyevna akhmatova in forty-fifth year, well , another person, of course, not the same, not better, not worse, just different.

books from the early 1910s, everything was like that, but what a distortion, yes, what a cheat, there could have been anything, any story and any poems by her, it wasn't about what they were writing, it was about who was needed at the moment, what magazine and what author, and who needed to be shown that we have no holy cows, and yes, a major mistake by the magazine, well , we know that the leningrad magazine never came into being again, it was destroyed forever, and of course. despite the fact that you said it right, how worthy he reacted to this mikhail mikhailovich, in forty-sixth year, in fifty-third, but naturally, his health was undermined, and although they began to publish it, after some time, yes, it was simply repeated in fifty-fourth year , when meeting with english students, this

story repeated itself, it began anew, because when they asked the question, do you agree with the resolution, mikhail mikhailovich answered, and i...

all the best, goodbye, to you, our dear interlocutors, i, as always , say with emphasis and conviction: read with pleasure, dear friends. hello, this is the podcast substance deception, with you is olesya nosova, editor-in-chief of komsomolskaya pravda, and with me is my regular host zukhra pavlova, a famous endocrinologist. today we will talk about eating disorders , and since this topic is at the intersection of physiology and psychology, we

invited a famous psychologist, candidate of psychological sciences, natalia fomicheva to visit us. natalia, hello! hello, actually, the first question is, what is an eating disorder in general, can eating behavior really be somehow upset, yes, we can start with what is normal eating behavior, healthy, in general, our body is designed in such a way that we feel physiological hunger, we eat, we feel full, we stop eating, and this is the basis of healthy eating behavior, therefore , all the problems begin exactly from the place where a person either feels hunger, but ignores it, or does not feel hunger, or does not feel full and overeats, this is the basis of disorders - this is precisely a failure this perception of processes, sensations of hunger, sensations of satiety, and here also adds...