Selling out Bulgaria … to hit Peevski

A collaboration between Tsvetan Vassilev and a Texan showman presents Bulgaria as Mordor of Europe

What does one do when, in own words, one has lost a mother, father, brother and best friend owing to “legalised narcotics, such as alcohol, tobacco and pharmaceutical drugs?” Of course, one will grieve, smoke oneself stupid and start shooting films against drug prohibition. And when you have a chance to combine it with a generously sponsored overseas trip (officially with $500,000, as the unofficial sum is yet unknown) you will pack hallucinogens in your luggage and take a plane to Bulgaria where you will get doped “for art’s sake” in front of hotels and in public baths.

At the invitation of his “friend” the man who had to leave first the US and then Canada because of probes into his activity, whom media in Canada describe as “marijuana mafia don in British Columbia”, who advocates legalisation of ‘soft drugs’ in Bulgaria, in his film gives the floor to the man who is hiding out in neighbouring Serbia from justice and people’s wrath after his name went to posterity due to the ‘heist of the century’ – syphoning off billions from CorpBank. To sell the money after that (again in own words) to the American audience as a documentary, i.e. as real facts not a perverted manipulation, which it actually is.

No joke, true story, as would say the compatriots of the “investigative producer and director” Kevin Booth.

This is what transpires from the next in a row interview of the above showman, who sells himself guised as “documentalist”, who made a several-month tour around various media, making statements and giving interviews about the fugitive from the Bulgarian law Tsvetan Vassilev and his oligarchic entourage only to hype up the “fruit” of their collaboration, “Shadows of Sofia”. Hardly anyone would be surprised if we say that he made his latest appearance on the Frognews site posing as press center of the fugitive banker. And if you think that the picture we described borders on absurdity then the film would overturn your views concerning this notion.

If we believe this two-hour hotchpotch concocted out of manipulation of facts and open lies and thrusted upon the Bulgarian and US audience as a “documentary”, Bulgaria is both a Gipsy ghetto and a beggary hovel where 80% of the population are ne’re do wells. That is how our country is presented seen from the “rabbit hole” where collaboration between Booth and Vassilev drive it.

And, while complaining of a hangover after the alcohol trip around the Sunny Beach resort, which he probably joined just to keep company, and building the profile of Bulgaria as a European Mordor, the pseudo-documentalist from Texas portrays Tsvetan Vassilev whiter than white.

According to the footage, the fugitive banker left Bulgaria to save his life, not because he defrauded CorpBank depositors stealing billions. However, you will not hear a word about it in the film, neither about the criminal case brought against the fugitive banker in Bulgaria. To top it all, the henchman of Putin’s pet Russian oligarch Konstantin Malofeev is presented as the “last instance” in assessing the situation in Bulgaria and prominent campaigner against the KGB grip and corruption. A real ‘winged angel’ surrounded by a cohort of apostles presented to the public as “observers”.

Among them the first pointman of Vassilev proves to be Assen Yordanov. Namely the purportedly independent journalist, owner of bivol.bg, caught red-handed in racketeering, exposed for ties with the Kremlin and cooperation with the defendants in the hacker attack on the National Revenue Agency is the man who fixed the meeting between Vassilev and Booth. Who are the other “narrators” in the film? All of them are people (and sites) close to the fugitive banker – Protest network, BOETS, Justice for All, starting from Nikolay Staikov, Ivo Bozhkov and Yordan Karabinov down to Boyko Atanassov, scandalous investigator of the so-called “civil sector” and their nominee for prosecutor general.

The list is long. But the main idea is one and the same, which doesn’t come as a surprise. Unanimously all of them quote Delyan Peevski as ‘universal evil’. Why so? This is a rhetorical question, same as the question why in an interview to Frognews Booth lied that he had tried to get in touch with the lawmaker and publisher of Telegraph Media. “I would appreciate if Peevski agreed to give an interview. Maybe then the film would have been different?” he added. Actually it could hardly happen because the directors of the film would be the same. And the message of the film, too.

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