📺 Russian TV Overhauls Content Acquisition Strategy

However, four years later, the broadcasting landscape has not only held its ground but has undergone a massive transformation. It has become evident that even without Hollywood blockbusters and European franchises, programming can remain diverse, highly rated, and commercially viable.

Natalia Eprintseva, Director of Content Acquisition at the distribution company First TVCh, shared insights into how content imports are structured today, why “parallel imports” are impossible in television, and how domestic broadcasters have struck a new balance.

The departure of American and European giants did not trigger a total rupture in relations. Foreign documentaries and shows are still being acquired, but the approach to distribution has fundamentally changed. Automatic volume deals for massive programming packages have been replaced by a highly selective, tailored curation process.

Importantly, the traditional concept of “parallel imports” that has thrown a lifeline to consumer electronics retailers does not exist in the media industry—licensing rights cannot be imported without the explicit consent of the copyright holder. Television channels must operate strictly through official channels, partnering with those international distributors willing to do business directly in Russia.

The defining trend of recent years has been the expansion of acquisition geographies, and this shift extends far beyond the popularity of K-dramas or anime:

• The Asian Triumph: Chinese producers have elevated their production value to an entirely new level. Documentaries from the PRC now directly rival the “blue-chip” masterpieces of leading European studios in terms of graphics, cinematography, and storytelling.
• The Latin American Experiment: Russian viewers have warmly embraced content from Brazil, Argentina, and Colombia. A prime example is the Colombian extreme reality show Desafío: The Box (locally titled Battle of the Titans: Isolation), which aired on the Priключения (Adventures) channel. The project delivered exceptional ratings and strong audience engagement, proving that Latin American formats are highly accessible and engaging for local viewers.

Changes in Russian legislation—specifically, the tightening of regulations protecting traditional values—have directly impacted editorial workflows. For instance, the Arsenal channel adjusted its programming grid, replacing a portion of its foreign action films with classic Soviet and contemporary Russian military cinema.

For the remaining imported content, professional localization has emerged as a key factor for on-air survival. High-quality dubbing and the adaptation of cultural codes do more than just translate the script; they delicately navigate sensitive editorial points without disrupting the artistic integrity of the work. According to Natalia Eprintseva, it is the expertise of First TVCh’s in-house dubbing studio that allows the company to find the right tone and framing, even for the most complex projects.

Even if Western majors decide to return to the Russian television market in the foreseeable future, they are unlikely to reclaim their former dominance. Over the past few years, the structure of broadcasting has shifted permanently:

• The share of original, locally produced content from Russian broadcasters has grown significantly;
• Asian and alternative foreign formats have secured prime-time slots, establishing new viewing habits among the audience;
• The overall share of foreign content on television continues to exhibit a steady downward trend.

Russian television has demonstrated its adaptability, turning the challenge of sanctions into an opportunity for deep-seated import substitution and the expansion of its viewers’ cultural horizons.