The reality talent show landscape has been buzzing around the young contestant Liza Trofimova, who appeared on the program Voice Not a Kid Anymore, featuring adult participants from the popular series The Voice. StarHit reported on the situation surrounding Trofimova, who is the daughter of the well-known singer Trofim. This coverage highlighted the intense online scrutiny she faced as a semi-finalist and the suspicion some critics voiced toward the judging panel.
At only fifteen years old, Trofimova became a focal point for online hostility directed at her performance and the judges. The scrutiny came after she advanced to the semifinals with a powerful rendition of a ballad that resonated with many viewers. The discussion extended beyond her singing ability to questions of fairness and favoritism within the judging process, with some commentators alleging bias from the jury.
During the semifinals, Trofimova delivered a heartfelt interpretation of It Seems So, an act that drew praise from her mentor Yegor Creed for courage and skill. Creed’s public comments emphasized the emotional pressures faced by a young artist who is navigating a path under the shadow of a famous parent. Creed urged Trofimova to persevere and to continue pursuing music with confidence, acknowledging the double burden she carries due to her family name and public spotlight. Creed’s encouragement pointed to the wider reality that young talents often grow brighter when they brush aside negativity and focus on artistic growth.
Despite the strong support Trofimova received from her mentor, Creed chose not to advance her to the final round. The two other finalists selected for the concluding stage were Veronica Syromlya and Ragda Khanieva, leaving Trofimova to watch the final unfold from the audience. The decision underscored the competitive nature of the show and the range of performances that compete for the top prize in a high-stakes televised event.
Fans and audiences were reminded that the upcoming finale would be broadcast live as part of the program Sound. The series No More Children is scheduled to air on Channel 1 on October 20, bringing the season to a climactic close. The live format added to the anticipation, as viewers expected not only outstanding vocal performances but also candid moments from contestants as they faced the weight of the competition in real time.
Meanwhile, the mother of a young participant who was part of a previous season recounted the recent controversy involving Trofimova. Adelia Zagrebina, a parent who previously appeared on the program, spoke candidly about the affair, noting how the visibility of a famous family can intensify pressure on a teenage artist. Zagrebina’s remarks touched on the broader dynamics of reality TV, where family connections and public perception can shape the experience of emerging talents and occasionally lead to dramatic shifts within the show’s format.
Across social channels, conversations also shifted to broader themes about the treatment of young performers in the public eye, highlighting the responsibility of hosts, mentors, and producers to foster a supportive environment while maintaining competitive integrity. The discussion around Trofimova’s experience reflects ongoing debates about how young artists are mentored, how feedback is delivered, and how audiences respond to rising stars who balance ambition with the expectations that accompany a famous lineage. This case has become a reference point for viewers who want to see genuine encouragement paired with constructive critique as part of a realistic path to a music career, rather than sensational coverage alone.
In the wake of the social media reaction, discussions continued about the impact of online commentary on young contestants. Analysts noted the importance of safeguarding mental well-being for teenage talents who perform in front of large audiences and a global online audience. Supporters argued that mentorship should include guidance on handling public scrutiny, while critics asserted the need for high standards and accountability among show judges. The season’s narrative thus became a broader conversation about media responsibility, artistic development, and the ways in which talent programs can foster resilience in young artists while celebrating authentic musical expression and growth.
As the finale approached, viewers were reminded that the program’s format rewards resilience, vocal skill, and a distinctive artistic voice. Trofimova’s journey, marked by both praise and controversy, exemplifies the pressures that come with early success and public fame. Her experience contributes to a larger conversation about nurturing emerging talent in a media landscape that relentlessly tests merit, character, and perseverance, while keeping the spotlight fixed on the music that first drew audiences to the stage. The story continues to unfold as audiences wait to see how this chapter will influence the next generation of young performers and the standards by which talent shows measure potential and achievement.