Watched for the annotation. In the annotation of the series on one of the sites, a bold parallel was drawn between the characters of the series 'Shelest' and the film 'The meeting place cannot be changed'. If not for this parallel, the series and would not touch, but ...
What I want to say: 'Shelest' is a typical Russian series about cops, that's the maximum. The creators moved away from the tendency to make allusions (exquisitely replaced the word ' plagiarism') to popular foreign TV series (which sinned and ' Track' and ' Freud Method' and, I'm sure many others that I did not watch), and returned ' to the origins'.
The series tells about a cheerful combat group of operatives under the command of 'modern Zheglov' And if by the word 'modern' to understand - ' recaptured to the top of my head', then I even think about whether to agree with such a description ... Not really. If Zheglov (the real one) had his own concept of work (and, by the way, very slender), he knew how to talk to people so that they would tell you everything themselves (just talk), then Shelest (whom the creator of the annotation dubbed Zheglov) starts talking to criminals only after something shoots them, and he does not talk to witnesses at all (as you phrase ' Well, this does not apply, I have to go' at the moment where the witness talks about the criminal? I really liked it, too.
The hero, who in the annotation was aptly nicknamed Sharov, also causes continuous questions. Who was Sharapov? That is right, a soldier from the front, straight as an arrow, with courage, honor and conscience, but completely devoid of flexibility, operational ingenuity and experience. What's in the show? A good boy Denis, able to reason and generally all this ' and we were taught this' And also with a bold hint that in the end he will sell everyone to the damn mother (imagine St. Sharapov as a traitor). Yes, even Denis seems to be trying to resent the created around Satan, but after the first blow to the face he adjoins lawlessness (with righteous indignation on the beaten face, of course). Again, imagine Sharapov, who, after a slap, picks up and puts a stolen wallet in the pocket of Brick.
In general, as the main characters we see professionally unfit Zheglov with a cuckoo, and a little infantile Sharapov, who, judging by the Tzu will grow up and take revenge on everyone.
If you distract from the main characters and remember about the plot, you also do not feel much inspiration: maybe it is impossible to feel the special atmosphere of the series for three episodes (perhaps), but I have a feeling from watching quite blurred. Conflicts are either smoothed or comic, love lines are strong & #39; well, such & #39; detective stories are crumpled. In general, the main motto of the investigations (and during the three series, the heroes managed to solve a half case) is dementia and courage intuition and onslaught. Evidence, logical chains, fascinating reasoning - leave it to Western filmmakers, in Russian TV series, confessions are knocked out of those who first came to hand. Probably, such epic plots were good in the 90s, when violence on the screen was still a novelty, but these days it is much more enjoyable to watch intellectual work, the intriguingly twisted detective story, and shootouts and screams. Well, they probably have fans too.
The last thing I want to talk about is the fillers. Starting with the first series (although it would seem, why spoil the impression at once), the creators for some reason deliberately delay time. In each of the three episodes there was almost a two-minute fragment, where the music is cut unnecessary for the plot frames. Why? To immerse the viewer in the atmosphere? It's not working. To pull the timing and make more series? Well, not from the first episode.
In general, as always, I was flattered for good annotations and a good cast. The main thing in watching Russian TV series is to remember that our writers are simply brilliantly able to screw up, they do it often and with pleasure.