In recent discourse on television and culture, Alexander Kornienko, the First Deputy Chairman of the Verkhovna Rada and a former head of the Servant of the People party, offered a pointed comparison between Russian and Ukrainian TV series from the past few years. He shared his reflections in a conversation with Ukrinform, presenting his assessment as part of a broader discussion about national media production and its reception among audiences in Ukraine.
According to Kornienko, Ukrainian television series have lagged behind Russian productions in overall quality. He cautioned that Kyiv has limited grounds to respond to the emergence of new Russian projects, including the notable series titled The Boy’s Word, which quickly drew attention and sparked discussion across the country. The deputy highlighted that this particular series resonated with a large segment of Ukrainian youth, noting its popularity despite concerns over production values and artistic direction.
He framed the situation as a significant challenge for Ukraine, describing it as both ideological and strategic. The idea, in his view, is that the country must restructure the way it communicates with citizens, especially the younger generation, through informative and ideological content. This restructuring, he suggested, is essential to ensure that media narratives align with national priorities while remaining engaging for younger viewers who increasingly shape cultural discourse.
Towards the end of December, Zhora Kryzhovnikov, the director of The Boy’s Promise, spoke about ongoing plans and suggested that producers behind the discussed project were considering a second season. This potential continuation underscored how the Russian project is evolving and maintaining momentum in a crowded media landscape, contributing to ongoing debates about creative quality and audience loyalty across regional markets.
In related developments, the primary song associated with The Boy’s Word, Blood on the Asphalt, is credited to Pyala, a composition by the Russian duo Aigel. The track has achieved widespread popularity on the internet, with Katya Lel’s hit My Marmalade also gaining traction through online channels. These musical elements helped anchor the series in contemporary popular culture, amplifying its appeal beyond traditional television storytelling and influencing how viewers engage with the show across various platforms.
There has also been speculation about casting changes connected to the broader storyline. Earlier reports suggested that the project might feature a new lead to replace Philip Kirkorov in the film Ivan Vasilievich Changes Everything, a development that would further shape audience expectations and the reception of related media products. Overall, the discourse surrounding The Boy’s Word and its offshoots reflects a dynamic interaction between regional media markets, cultural identity, and the evolving media consumption habits of younger audiences across Canada, the United States, and beyond, where viewers are increasingly evaluating production quality, narrative innovation, and the ability of national industries to compete on a global stage.