Part three of “Embedded in the Novel” is when Soviet morality cracks under the heel of a young body with an oligarch’s mindset. Socialism is paused, the “rec” button is pressed—and off it goes: a circus instead of an altar, a film studio instead of confession, the embassy of an African country—a VIP box for the premiere of temptation. A historical event turns into a reality show with casting for revolution: orders are handed out for desire, slogans for preludes. The Central Committee secretary Smirnov is no longer a censor but a special-effects director: “Less pomp, more bodily revelations!” The camera becomes the tribunal of the era: anyone who doesn’t love gets crossed out. Sheremetyevo whispers “Guess we got away with it,” Paris smells like croissants and canceled censorship, and cabbage from an hangar turns into a movie about how the USSR seduced itself. Funny, shameful, scorching—just as it should be at the premiere, where tickets are issued by party card and a list of sins.