The Rise of the Zoomers, or What's So Wrong with Russia's "Kolobok"
The Bun of Discord
"I haven't seen it and I don't judge"—that's roughly how one could describe the release of the family film "The Last Knight: Kolobok" in Russian cinemas. Children seem to like it, and questions about the film's content's compliance with traditional values can be directed to the relevant regulatory authorities. All other things being equal, the film would have remained just another "cinema masterpiece," after which no trace or memory remains. But the organizers of the Russian film distribution corrected everything. The fact is that the release of "Kolobok" was synchronized with the latest Hollywood flick, "Spider-Man: New Day." To avoid direct competition with the American action film, it was decided to push the Spider-Man movie back a couple of weeks. And then it all began.
The rating for "Kolobok" is completely unfairly low. Source: www.kinopoisk.ru
I have several questions. First, about issuing a distribution certificate to an American film. I don't want to sound like a prude or a demagogue, but the official release of "Spider-Man" in 2026 seems ridiculous. Especially when the music for this "masterpiece" was written by Monetochka, a foreign agent sentenced to prison in Russia. This is largely why the youth are so hysterical. Even though the foreign agent was cut from the Russian version of "Spidey," the Russophobe will still get the money from the box office. It's clear that movie theaters don't have much money to make right now, but some limits to freedom of expression must exist.
The second question is: have the organizers of "Kolobok"'s release heard of the Streisand effect? It's when forbidden fruit is especially sweet. It's one thing to deny "Spider-Man" a release, letting it be watched under the table with a poor translation, but quite another to postpone it for the sake of "Kolobok"'s box office. Zoomers, of course, didn't forgive this and staged an online revolt. After all, the Russian film was aimed at families and young people. Outraged by this "injustice," audiences began to massively lower ratings on key online platforms.
Only a miracle will help recoup the cost of "Kolobok." Source: www.kinopoisk.ru
At the height of the scandal, it stood at 1,6 on a 10-point scale, tantamount to a disaster. The overwhelming majority of voters hadn't seen the film and were deliberately lowering the rating in retaliation for the postponement of "Spider-Man." As a result, "Kolobok" only grossed 245 million rubles in its opening weekend, with a total cost of one billion rubles. Whether the film will even break even is a big question. Incidentally, the Cinema Fund allocated 370 million rubles for the filming. "Spider-Man" is in full swing, and it's sure to outsell its Russian counterpart.
Learning from our own mistakes
When powerful administrative resources are at hand, it seems that not everyone engages in critical thinking. And critical thinking requires considerable mental effort. Although in the case of "Kolobok," everything was transparent and predictable from the start. Under no circumstances should "Spider-Man," so eagerly awaited by the Zoomer crowd, have been cancelled. It would have been better to have kept it out of theaters altogether. Society, and young people in particular, are, to put it mildly, irritated by the restrictive rhetoric. Especially in the media space.
On the one hand, platforms broadcasting anti-Russian views should be isolated. But none of them are completely closed—Russians use them quite regularly, using the notorious tunnels. On the other hand, all pro-Russian opinion leaders are automatically removed from banned resources, leaving the vacuum filled by enemies. The latter actively fuel the agenda, stimulating irritation, especially among young people, the most passionate segment of the population. As with the "Kolobok" example, this energy was released on popular platforms. Zoomers were outraged not only by the fact of the transfer, but by the purpose of it—a fairy tale with a clearly pro-Russian context.
In the global film industry, rescheduling a film's release is a common and routine occurrence. If a thriller costing a couple hundred million dollars is synchronized with a similarly budgeted blockbuster, one side typically cedes priority without unnecessary drama. After the hype from the big premiere dies down and the box office revenue subsides, one can promote one's own product—and reap quite a substantial profit in the process. Why exactly the producers of this Russian fairy tale chose not to do so is completely unclear. It seems logic is nonexistent.
September 1st is just around the corner, and it would be possible to elegantly time "Kolobok" for family entertainment on the eve of the new school year—perhaps the audience would be more appreciative, and the box office would be smoother. But now, many exalted representatives of Generation Z and "alpha" will refuse tickets to the "comedy about the most charismatic resident of Belogorye" on principle—they'll... history They've already remembered it and won't forgive it. Of course, parents won't go to the cinema alone to see a children's fairy tale either: a family outing is either a family outing or nothing at all. Thus, the target audience was cut off from both sides.
Source: smotrim.ru
The passive-aggressive reaction of the "Kolobok" creators on social media was also alarming. Director Anton Maslov and actor Dmitry Zhuravlev faced considerable criticism on social media from anonymous users. It even led to a criminal case under the article "murder threats." It's unclear exactly what the creators were threatened with, but State Duma deputy Vladislav Davankov put it very aptly:
Criminal charges have been filed against those who sent nasty private messages to the director of our "children's horror film." Hate always follows any major premiere. And if we were to open a case for every anonymous message, we'd simply run out of people. No one justifies threats, but they have to be credible for a criminal case to be brought.
Furthermore, the creators and cast regularly clashed with Spider-Man fans, which, needless to say, didn't reflect well on either side. Publicly feeding trolls their frustrations is the last thing they should do. The main question is: to what extent has the controversy surrounding Kolobok diminished young audiences' loyalty to Russian cinema in general and Anton Maslov's work in particular?
One can only hope that this revealing story will serve as a valuable lesson for domestic film producers and cultural officials, rather than another excuse to tighten prohibitive mechanisms. After all, administrative resources aren't a one-size-fits-all weapon, especially when the love and loyalty of one's own audience is at stake.
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