The Anna Nikolayevna Project. When the cover of a defiant comedy is deceptive

A progressive and clever story with the motif of self-identity and acceptance of deviance in society at its heart.

In the material:

  • Clothes On Their Shoulder
  • Satire as the Basic Tool of Thought Transmission
  • Self-identity, deviance in society
  • Reasons for the success of the default cops serial with cringe jokes

The comedy

genre has always been and will always be seen as something not too laden with philosophical research and other content. It is commonly regarded with great prejudice, and the target audience is drawn type not the most gifted. Especially when it comes to the type of the average viewer who makes the box office of another Russian comedy.

The ratio of viewer and critic evaluations by genre. The denser the clot, the more unanimous the opinion. Comedy, like horror, has virtually no point density. Source, timecode 9:50

Of course, comedy is different from comedy, but still. Project Anna Nikolayevna, hereafter A.N., in its form and superficial content is fully consistent with what can be called a typical Russian comedy these days. The cultural code in the introductory video is described by shawarma and beer, the man here is addicted to borscht, and the jokes about penises and sex are endless.

But first impressions can be deceptive.

A.N. tells the story of an android policeman sent by the highest levels of the Russian Interior Ministry to be tested and humanized. This kind of a story as a new reading about a "popadan" is not just popular - it allows you to write an interesting conflict and jokes based on it on its basis, where the cultures of two diametrically opposed worlds collide head-on.

This can partly explain the great popularity of the project. As of this writing, the series is at number one in views on KinopoiskHD and has a high user rating.

Satire as the primary tool for conveying A




s thoughts

is deceptive. When I first became acquainted with the project, I was at one point overwhelmed by a wave of shame for its political obsession: all these dialogues about a strong leader, love for the motherland, and patriotism, as well as the undisguised groveling before the authorities. But pretty soon I realized that it was all satire.

The series does not seek in any way to defend or glorify the power structures, it does not call for blindly following the letter of the law, and it does not try to instill Hurrah-Patriotism. On the contrary, he ridicules principles that are not inherent in living people and paints an image of a human being above all human. Including through an android.

There may be slight spoilers in the text, but nothing critical that might spoil the first impression of watching the series.

The sixth episode of the second season is a good example of satire. Here the plot unfolds around an attempt on the life of a deputy. The main characters are interviewing witnesses, conducting investigative measures and looking for the killer and the motives of the crime. Obviously, since we are talking about a deputy, there would be many potential detractors. But no. Moreover, it turns out that the deputy is utterly devoted to the people and helps ordinary people in every way he can.

And it's funny, because it is not believable - it emphasizes, and the characters of the series. Andrei Maratovich (Anton Filipenko) ends up putting forward unrealistic theories that the victim is either an android or Christ.

It may also seem that the show broadcasts highly offensive to certain groups of people, but traditional political views for our country. There are many episodes where homosexuality or sexism is ridiculed, and the main character, Anna Nikolayevna (Zoya Berber), is an example of a character that progressive Twitter should not learn about under any circumstances!

But as with the ideal deputy, the context of such offensive jokes suggests otherwise-the authors do not support homophobia and sexism, no matter how counterintuitive it may seem at first glance.

Pay attention to the circumstances under which a particular phrase is uttered.

Even though the show uses a sexualized image of the main character to attract the audience, it is overall progressive and mature enough.

Self-Identity, Deviance in SocietyMy

interpretation of the story told in the first season of A.N. is based on these very motifs: self-identity, deviance, and society's reaction to them


In the story, the key characters in A.N. are not in a state of complete happiness. Andrei Maratovich (Anton Filipenko) is going through a painful breakup, and he keeps Nastya (Marusya Klimova) in love with him at arm's length.

Everything changes when android Anna Nikolaevna (Zoya Berber) appears in his life - Andrei does not know how to react to falling in love with the machine, but realizes that he wants to be with her.

The reason for the lack of full reciprocity is obvious - Anna Nikolayevna is not human, and from the point of view of the public, the right choice would be Nastya. She brings him borscht, is shy, timid, but beautiful. The image of the perfect wife, but not for Anton Filipenko's character.

And a similar story lies behind all the key characters in the series. Slava Lyapin (Fyodor Lavrov), for example, feels happy next to Zhenya (Anna Kotova), a prostitute, and sincerely loves her, but his condemning profession for society does not allow him to make a move. And Wet (Kuzma Saprykin) shows an abnormal interest in his mother-in-law.

The high point of the whole story is when Andrei decides to go over himself and repaint his car pink. The guys from the neighborhood might not understand, but it is his own way of expressing himself and not giving a damn about society. This is a one hundred percent dramaturgical action of the character, demonstrating his attitude through a particular image.

And that's cool.

Reasons for the success of the default series about cops with krinj jokesOne

of the reasons has already been stated - it is an interesting and popular concept about a "popadan. But the price of any concept without the proper implementation. It is the diverse scripting that allows the project to be interesting and versatile. Well-written jokes, characters, laid down motives - the secret to success lies somewhere here.

Most banal, the show is simply funny. The density of humor is high, the themes touched upon in it are relevant, and I have not noticed any passable humorous billets. Almost always a multi-layered construction, providing lightning-fast viewer reaction. A joke about a penis is not the same as a joke about a penis.

Second, working with the material from an artistic point of view. From school and technology lessons, and life lessons from a labor school, I have remembered one simple thing. If your carving board has a nasty knot in it, make sure that this annoying flaw blends seamlessly into the composition.

A.N. has a pretty simple production, after all, it's a TV show that doesn't involve a bloated budget. Sometimes, the authors have to shoot complicated shots with acrobatic stunts or with computer graphics. Obviously, it's not Marvel and certainly not Villeneuve. But you turn a blind eye to that, because for the most part, it's the comedic tone that prevails in this story. This is just the kind of thing where a nasty snag blends seamlessly into the overall composition.

The reverent treatment of the material extends to other aspects of A.N. The emphasis is shifted toward humor and the relationships between the characters, where as the detective stories are simple, carry a certain intrigue, and are not straining. The series is thought-provoking, moderately deep, and is therefore watchable in the same breath.

And lastly, the characters and emotions are lively. All this is dictated by competent scripting and good acting. If you believe the interview with Zoe Berber for Kinopoisk HD, on the set there was a friendly atmosphere, and the actors genuinely root for the product in which they participate. The characters and everything associated with them are the best thing about the series.

My recommendation.

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