The Ivanovo festival is named pilot because it showcases the first entries of what could become a longer series, the pilot season. Internet cinemas have carved out a distinct niche for movie series that run in a shorter format than traditional television series, typically six to eight episodes, each season tied to a single overarching plot with original confrontations and standout performances. Titles like House Prison, Epidemic, Crystal, Storm, Call DiCaprio, Chicky, Mom’s Penguins, Middle Band Vampires, among others, helped redefine this format. The genre began as a simple option for home audiences, but its impact grew beyond that expectation.
Shifts in Russian law keep creators under pressure: how will display rules evolve during production? Will the series be shown a year after its creation, or will Roskomnadzor or vigilant citizens raise concerns? To navigate this environment, today’s serials often minimize direct ties to current events and modern life, setting action in a vaguely defined realm that resembles a contemporary kingdom. Its inhabitants focus intensely on themselves and their loved ones. This personal isolation adds a touch of artificiality, a trope masterfully teased in the Sidorov sitcom produced by STS. The premise envisions a long-running show whose scripts are generated by a neural network following a template used for similar television performances. The artificial intellect dutifully reproduces the quirks of the genre: a closed setting with no obvious exit, exaggerated character masks with flat traits, slow plot development, and limited connections to everyday life. Actors strive to justify their lines, and the resulting characters gain a glimmer of self-awareness and the ability to think critically. Whether the project will reach completion remains uncertain, but audiences will be watching to see how the writers resolve it.
Among this year’s novelties there were two TV series centered on fathers and daughters released in close proximity. Mammoths, headlined by Yuri Stoyanov, and Mastodon with Fedor Dobronravov, quickly captured audience attention. In both comedies, the elder characters prove that age does not hinder digitization and modernization; experience and wisdom amplify their on-screen presence and teach younger characters valuable lessons. In Mammoths, Stoyanov’s character embodies the amiable charm associated with a beloved elderly figure while mastering computer literacy and delivering sharp comebacks to online scammers who overmatch themselves in audacity. Critics and viewers alike praised the show for its humor and its fresh take on contemporary life.
Viewers have also moved past Western streaming services that previously dominated the Russian market. A broader mix of platforms now competes for attention, and audiences have reoriented their habits accordingly. Observers note a shift in how Russians engage with premieres, including those still available through unofficial channels, while a smaller but dedicated core follows updates from Netflix, Apple and other Western services. Ksenia Boletskaya, who leads Yandex industry relations, notes that domestic television series currently garner the largest share of viewership across all genres. American series rank second by a wide margin, with Turkey, China and India showing smaller but growing shares, while Korea remains a more modest presence.
Classics continue to be part of the cultural conversation, with timeless favorites like Brigade from the 1990s continuing to play a role in rotation. Sergei Bezrukov remains a highly sought-after face, headlining major projects such as Buffalo Hunt, a performance echoing the gravitas of Vysotsky, and Plevako, in which he portrays the legendary attorney. Overall, audiences seem to be leaning toward more confident, independent characters who take charge and steer their own stories, a shift away from the traditional Cinderella archetype who needed rescue. In dramas, however, the mood is more restrained; stories drawn from real-life issues struggle to find strong engagement, while mystical and historical costume dramas manage to carve out a niche and draw attention with atmospheric storytelling.
The festival jury honored Cerberus with the grand prize. This historical thriller traces the aftermath of a Decembrist uprising, weaving a complex plot with a rich, cinematic world. Hints of influence from a recent Channel One project about a Salvation League appear, but Cerberus adds a detective thread: after investigations, informants fall one by one under mysterious circumstances. The investigation is led by Timofei Tribuntsev, whose identity is transformed for the role, and Yevgeny Tsyganov appears as Count Witte, a character who seems deeply entangled in the deadly game. The series is ready to premiere on Premier online cinema before airing on NTV.
Overall, a prevailing current in the Russian market suggests a positivity: stories of kindness, perseverance, and friendship often prevail, even when characters stumble. This optimism does not erase novelty, though. Genres that restore justice still command broad appeal, and TV shows remain a powerful vehicle for delivering that message. The landscape reflects a preference for stories where good ultimately endures, even as characters navigate imperfect situations and tough choices. While tastes continue to evolve, the appetite for engaging, morally resonant entertainment endures across audiences.