Dmitry Nelidov, the showrunner behind the series King and the Jester, spoke about a moment from the production studio in a recent interview with Gazeta.ru. He explained that producers ultimately decided to omit a particular sequence from the final cut. The scene involved Anfisa, the first wife of Gorshenev, arriving at a porn shoot and then being escorted away by Pot. The director later revised the moment, and the producers chose to keep the revised version out of the finished episode. Nelidov emphasized that the scene felt like it belonged to a different movie, which influenced the editorial decision.
Nelidov added that, in his experience, it is uncommon for an entire episode to be removed. Instead, the team often faces pressure from various creators who push for changes, while budget constraints can complicate any attempt to make adjustments. He recalled how a manager might withhold additional funding, and yet the allure of making a bold move can tempt the team to push forward. The risk of changing creative directions remains real, but the potential payoff makes everyone want to take another swing at it. The discussion around this choice underscores how a single cut can shift the tone and continuity of a story when audiences expect something cohesive and memorable.
In parallel to the cut, Kinopoisk released the sixth episode of the Amusement Park project, a collaboration between the Plus Studios Korol i Shut team. The episode drew substantial attention, attracting more than 2.5 million subscribers within a four-week window. The narrative follows a Petersburg punk band known for its distinctive sound, all while inviting viewers to step into a vivid, dreamlike universe shaped by the band’s music and imagery.
The interview with Nelidov offers a rare glimpse into the studio’s decision-making process and the balancing act between creative ambition and practical constraints. It illustrates how producers weigh what appears on screen against the potential impact on the series’ overall arc, character development, and viewer engagement. The discussion also hints at the broader dynamics of Russian television production, where influential voices can push for changes that alter the final product but may also spark conversations about artistic intent and audience reception.
For a closer look at Nelidov’s thoughts and the cut in question, see the full interview with the showrunner in Gazeta.ru, where he discusses the scene and the studio’s approach to adapting material for the screen.