The soundtrack for Zhora Kryzhovnikov’s series The Boy’s Word featured six tracks from Mirage, including New Hero, I’m Not Kidding, Music Connected Us, Together Again, Sunny Summer, and Video. In a conversation with socialbites.ca, group members Ekaterina Boldysheva and Alexey Gorbashov noted that after the show’s release, younger listeners began engaging with their music more actively.
Boldysheva and Gorbashov explained that Mirage’s hits have become a cultural touchstone in the country, acting as a symbol of the era. It is not surprising that producers chose to weave these songs into the series.
They also shared that they receive numerous messages from younger fans who say the series introduced them to good music, a sentiment they consider deeply rewarding.
Both artists watched The Boy’s Word and found it to be an honest and credible portrayal. They remarked that, despite a personal wish to distance themselves from the subject matter, the film captures a real slice of the country’s history. It portrays the atmosphere of those years with a strong visual quality, which helps explain its popularity. They emphasized that nostalgia is not the goal this time around.
For many people living in the country, the late 1980s represented a period of expectation for a brighter future, followed by rapid disillusionment as hope collapsed. A chaotic redistribution of resources took place, and this era unfolded without the involvement of those who once fancied themselves masters of life, often depicted in bold attire with shaved heads.
The musicians noted that lawlessness was not confined to Kazan; their travels across the country exposed them to similar scenes in many places, reinforcing the sense of a nationwide upheaval.
Speaking about the film, the artists described a painful resonance. They did not find the romance critics sometimes assigned to the era; instead, the characters in the story evoke more pity than admiration, as they were swept up in the merciless machinery of that time.
Their reflections on Andrei, the film’s central character, suggest that with basic protections and avenues for self-realization, his path could have unfolded differently. The discussion also challenged claims that the series romanticizes the protagonists’ lifestyle; the artists argued that responsibility lies with the authorities for where this portrayal is possible, rather than with the show’s creators alone.
In their view, the series presents a candid snapshot of a difficult chapter in recent history. The creators deserve consideration for their willingness to address these moments honestly. General judgments should wait until the final episodes are released, and premature conclusions should be avoided until the story reaches its full arc.
The Boy’s Promise is a Russian crime drama directed by Zhora Kryzhovnikov, set in Kazan during the late 1980s. The storyline follows a 14-year-old named Andrei, who comes from an educated family and joins a youth group to shield himself from the pressure of street gangs. Major roles are portrayed by Ivan Yankovsky, Ruzil Minekaev, Leon Kemstach, Elizaveta Bazykina, Anna Peresild, and Anastasia Krasovskaya.
After the release, some officials viewed the work as a romanticization of banditry. It later emerged that Roskomnadzor did not identify legal violations in the series. Support for the drama came from notable figures including Nikita Mikhalkov, Ksenia Sobchak, Maxim Fadeev, and Artemy Lebedev, among others, while public opinion in a Weber agency survey showed broad resistance to banning the show.