Sergey Belogolovtsev was born in Vladivostok, studied at the mining institute as an engineer and even worked for some time in the specialty - a mine master. It is not known how much the Far Eastern mining industry lost with his departure to Moscow, but Soviet and later Russian television undoubtedly acquired an excellent humorist. It is difficult to list the humorous programs in which Belogolovtsev played, which he created, directed, from Good Night, Kids and Oba-na to his favorite brainchild –
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Sergey Belogolovtsev was born in Vladivostok, studied at the mining institute as an engineer and even worked for some time in the specialty - a mine master. It is not known how much the Far Eastern mining industry lost with his departure to Moscow, but Soviet and later Russian television undoubtedly acquired an excellent humorist.
It is difficult to list the humorous programs in which Belogolovtsev played, which he created, directed, from Good Night, Kids and Oba-na to his favorite brainchild – OSP Studio. All its participants, according to Belogolovtsev, are former KVN-scientists, who were gathered one day by Alexander Akopov and set a task for them: to create a new, fresh, and generally “unlike anything else” humorous program. As a result, the program “Once a week” appeared, and already grew out of it.
. However, within the framework of the OSW, a variety of programs come out: from “33 square meters”, designed, to put it mildly, for an unassuming viewer, to “Times”, parodying popular personalities and some phenomena of our lives, up to a parody of the Cabinet meeting.
“Persons” are usually not offended, and Posner, a parody of which became in a certain sense a “business card” of the program, even invited Beloglovtsev to the New Year’s edition of the program “Times” – as a retaliatory “gesture of politeness.”
Is it easy to be a humorist these days? And yes and no. On the one hand, there is no censorship, banned topics too, and there are many stories for humorous programs in life. On the other hand, Belogolovtsev is a supporter of humor, not satire (“For satire, this is for Shenderovich ...”), and humor on our television becomes rude and sometimes vulgar. Previously, he was, according to Belogolovtsev, “thinner, softer, multilayered.” But the success of the show is determined by its rating, the rating depends on the audience, and viewers demand more and more entertainment programs, not really caring about their quality. So humor in Russia is experiencing a crisis, and Sergey Belogolovtsev seeks to save himself and not waste his talent. /