The video for the song So Beautiful, performed by Sergei Lazarev, has been removed from both the artist’s official website and his YouTube channel. The move came after a St. Petersburg court labeled the material as LGBT propaganda, a decision that was reported by a Telegram channel known as To climb. The removal appears to be part of ongoing enforcement actions and public statements surrounding the distribution of content deemed inappropriate for certain audiences in Russia.
As of now, the clip is no longer accessible on Lazarev’s YouTube channel, and it has also been taken down from the artist’s official site. This two-pronged disappearance underscores the seriousness with which content moderation is treated by both platforms and state regulators in connection with sensitive themes that intersect with regional laws and cultural norms.
On December 1, information circulated that the Vyborg District Court of St. Petersburg issued a monetary penalty to the Quince TV channel, fining it half a million rubles for what was described as LGBT propaganda within Sergei Lazarev’s video So Beautiful. This ruling reflects the court’s interpretation of content surrounding sexual orientation within public media contexts and its implications for broadcasters and content creators who operate within Russia’s legal framework.
During the filming phase, the Roskomnadzor protocol described a scene in which at least two young women, distinguished by personal characteristics such as hair, the appearance of the nail plate, manicure, and jewelry, engaged in actions meant to convey a tactile, sensual interaction. The protocol suggested that these elements were intended to illustrate relationships between two individuals of the same sex, which was interpreted as promoting homosexual content to viewers, a matter that authorities monitor closely. This description highlights how regulatory bodies assess visual cues and narrative context in media works and how such assessments can influence subsequent policy actions.
Sergei Lazarev first released So Beautiful in 2017. Russia’s law restricting LGBT propaganda among citizens of all ages took effect on December 5, 2022, a change that has shaped how media and artists approach themes related to sexuality and gender in public-facing materials. The timing of this law’s enforcement has contributed to a broader conversation about digital accessibility, censorship, and the responsibilities of creators when presenting intimate themes within music videos and other media products.
In the wider cultural climate of the period, law enforcement and regulatory authorities conducted frequent checks and actions targeting venues, channels, and online content associated with LGBT topics. Reports of police actions at LGBT venues in Moscow reflected a broader atmosphere of scrutiny and control over venues and platforms hosting content related to sexual orientation. These developments have prompted discussions about freedom of expression, media regulation, and the role of social media in disseminating regional policies and legal interpretations to audiences both inside and outside of Russia.
From a media ethics standpoint, the case invites examination of how music videos can intersect with public policy in ways that shape visibility, representation, and audience reach. It also raises questions about how platforms balance creative expression with local legal requirements, and how audiences interpret official statements that accompany the removal of content. The evolving landscape shows that content that once circulated freely can become subject to regulatory checks, especially when themes touch on gender and sexuality in jurisdictions with specific legal frameworks.
Opposing voices and supporters alike have argued about the reach of such regulations and their impact on artists and broadcasters. Some emphasize the importance of protecting societal norms and minors from content deemed inappropriate, while others stress the risks of censorship and the chilling effect on artistic exploration. In this context, Lazarev’s experience with So Beautiful serves as a case study in how policy, platforms, and public sentiment can converge, producing tangible consequences for content availability and distribution across major digital channels.