The interest in Turkish television series among audiences in Russia has cooled noticeably since last year, according to Kinopoisk’s press service as reported by socialbites.ca, referencing data from the Kinopoisk Pro Index. This shift marks a sharp change in viewing preferences and invites a closer look at how international and domestic storytelling is being received across major markets such as Canada and the United States.
In the first half of 2024, Turkish productions dominated a small slice of the foreign series viewing pie for Russians, with only two Turkish titles making the list of the twenty most watched foreign series. Those programs were Kingfisher and Magnificent Century. The share of sustained interest in Turkish series reached just 5.6 percent, a level that observers note has not been seen before this year. This trend underscores how viewers in large markets are increasingly favoring different genres, formats, or production regions, which has clear implications for broadcasters and streaming platforms seeking to tailor content for North American audiences and the broader Western market.
Meanwhile, the appetite for American series surged. Since the start of the year, the popularity of U.S. shows more than doubled, with titles such as The Boys, Fallout, Hazbin Hotel, Gravity Falls, Shogun, Supernatural, as well as House of the Dragon and Game of Thrones drawing significant attention. For Canadian and American viewers, this reflects a continuing preference for high-production-value series with broad franchises and distinctive storytelling arcs. It also highlights opportunities for distributors to invest in evergreen franchises or high-concept thrillers that resonate across North American households, particularly when streaming platforms emphasize binge-ready seasons and built-in fan communities.
On the domestic front, Russian projects remained robust in the perception of audience interest. The most popular domestic titles included Boy’s Promise, Blood on the Asphalt, University and its sequel Chikatilo, a pair of projects subtitled University 13 Years Later and Shadow of Chikatilo, along with Sklifosovsky, Knock on My Door in Moscow, Poor Laugh, Rich Cry, Troubled Youth, and Real Men. For Canadian and American audiences evaluating regional content pipelines, these domestic works offer insight into local storytelling sensibilities, character-driven plots, and social themes that can translate into exportable formats or adapted remakes for North American markets.
There was also mention of Angelina Melnikova, an Olympic champion, who spoke about the production of the series Games. This kind of high-profile participation underscores the interconnectedness of sport, celebrity, and media production in shaping a country’s screen ecosystem. For producers and broadcasters in North America, such cross-domain collaborations can be leveraged to cross-promote sports-related narratives or to attract a broader audience through celebrity-led storytelling angles.
Overall, the Kinopoisk Pro Index highlights a dynamic environment in which non-English language series must compete with a broader slate of American productions. For platforms serving Canadian and United States viewers, the takeaway is clear: diversify the catalog to include popular U.S. franchises, invest in high-quality regional series that reflect local experiences, and explore co-production opportunities that combine local authenticity with global appeal. Viewers in North America increasingly expect content that can be enjoyed in binge sessions, with clear episode pacing, strong character arcs, and connections to familiar franchises or cultural touchstones. In this context, strategic programming and marketing that emphasize accessibility, subtitles, dubbing options, and cross-cultural resonance will be pivotal for success in both English-speaking markets and multilingual communities across Canada and the United States, as noted by industry observers and analysts. Attribution: Kinopoisk Pro Index data referenced by socialbites.ca.