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Muppets in Moscow: The Unexpected Crazy True Story of Making Sesame Street in Russia
"In this thrilling debut, television producer and filmmaker Rogoff recounts her mission to bring Sesame Street to Russian audiences.... The resulting tale is one of perseverance and creativity that illuminates how even the most disparate cultures and perspectives can find common ground." — Publishers Weekly, Starred Review After the collapse of the Soviet Union in the early 1990s, the timing appeared perfect to bring Sesame Street to millions of children living in the former Soviet Union. With the Muppets envisioned as ideal ambassadors of Western values, no one anticipated just how challenging and dangerous this would prove to be. In Muppets in The Unexpected Crazy True Story of Making Sesame Street in Russia , Natasha Lance Rogoff brings this gripping tale to life. Amidst bombings, assassinations, and a military takeover of the production office, Lance Rogoff and the talented Moscow team of artists, writers, musicians, filmmakers, and puppeteers remained determined to bring laughter, learning, and a new way of seeing the world to children in Russia, Ukraine and across the former Soviet empire. With a sharp wit and compassion for her colleagues, Lance Rogoff observes how cultural clashes colored nearly every aspect of the production—from the show’s educational framework to writing comedy to the new Russian Muppets themselves—despite the team’s common goal. Brimming with insight and nuance, Muppets in Moscow skillfully explores the post-Soviet societal tensions that continue to thwart the Russian people’s efforts to create a better future for their country. More than just a story of a children’s show, this book provides a valuable perspective of Russia’s people, their culture, and their complicated relationship with the West that remains relevant even today.
267 pages, Hardcover
First published October 17, 2022
About the author
Natasha Lance Rogoff
1 book17 followersNatasha Lance Rogoff is an award-winning television producer who has written and directed documentaries and produced children’s television shows for over twenty-five years. She executive produced Ulitsa Sezam (Sesame Street in Russia) and served as producer of Plaza Sesamo (Sesame Street in Mexico) between 1992-1997. Natasha moved from New York to Moscow in the early 1980s to study Russian at Leningrad State University. Becoming fluent, she made close Russian friends and wrote about Soviet underground culture for mainstream international newspapers and magazines. Her 1983 article, “Gay Life in the Soviet Union,” published in the San Francisco Chronicle, was one of the earliest exposé of Soviet government persecution of the Russian LGBTQ community. And, her 1985 film, Rock Around the Kremlin, about Russian rock musicians who endured extreme hardships due to communist censorship, aired on ABC TV’s “20/20.” Ulitsa Sezam’s production created opportunities for these artists to express themselves freely creating original music, films, and scripts. She is now an Associate in the Art, Film, and Visual Studies Department at Harvard University and lives between Cambridge, Massachusetts, and New York City.
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Displaying 1 - 30 of 189 reviews
May 31, 2022
On the overnight flight from New York to Moscow, the atmosphere feels carnivalesque, with everyone wanting a piece of this new Russia, whether that involves money, sex, democracy, or the salvation of lost souls. And now I’ve joined this cabal plotting to alter Russia’s future. But my alchemy is neither religion nor politics; it is a children’s television show.
In its subtitle, Muppets in Moscow promises “The Unexpected Crazy True Story of Making Sesame Street in Russia”, and that’s exactly what author (and the television show’s original Executive Producer) Natasha Lance Rogoff delivers. As a young documentary filmmaker, Rogoff was stunned to be recruited by the Children’s Television Network and offered the opportunity to develop a Russian version of Sesame Street (“Ulitsa Sezam”), but as a Russophile who was fluent in the language and had some contacts in Moscow, she was seduced by the opportunity to bring a fun and educational show about Western-style empathy and cooperation to children raised behind the recently fallen Iron Curtain. No doubt a little naive about the challenges she would face, Rogoff’s story unspools in a series of shocks and roadblocks, and as this is also a memoir about the author’s personal and professional life, there is an engagingly intimate angle to the stakes. The writing could have been a bit more polished, but as an eyewitness account of what was probably the only liberalised window in which this kind of American-Russian co-production could have been pulled off, I found the whole thing fascinating. (Note: I read an ARC through NetGalley and passages quoted may not be in their final forms.)
Lida adds, with a look of disdain, “Russia has a long, rich, and revered puppet tradition dating to the sixteenth century. We don’t need your American Moppets in our children’s show.” I start to feel short of breath. I thought selling the Russians on the lovable Muppets would be the easy part of making this television series. But these television professionals don’t even like the American puppets. I don’t know whether to laugh or cry.
After the collapse of the Soviet Union, it was apparently then-Senator Joe Biden who drummed up congressional support and financial backing for a Russian version of Sesame Street, believing that the Muppets were “ideal ambassadors to model democratic values and the benefits of a free market economy to children in the former Soviet Union.” With several other international versions of the show already in production around the world, the Children’s Television Network was on board with Biden’s proposal, and Natasha Lance Rogoff — with zero television experience and little practical notion of what her role would actually involve — was sent to Moscow to secure a local co-producer (who could provide funding as part of the deal with the American government and the United States Agency for International Development), a broadcaster, and all of the talent (from directors, to animators, to writers, to puppeteers) before a single frame could be shot. Not only was there incredible pushback from all of the creatives — people raised on Pushkin and Tchaikovsky were disinclined “to replace Russian education with ‘American chewing gum for the masses’” — but as the oligarchs and kleptocrats scrambled for riches “during the greatest transfer of wealth from public to private hands in Russian history”, there was actual physical danger involved as well:
During our production, several heads of Russian television — our prospective broadcast partners — were assassinated one after another, with one nearly killed in a car bombing. The day that Russian soldiers bearing AK-47s pushed into our production office and confiscated show scripts, set drawings and equipment, and our adored life-size mascot Elmo, most of my American friends said I should get out of Moscow while I still could. But what made me stay, even in the face of physical violence jeopardizing the production, were the cultural battles that touched nearly every aspect of the show — from the scriptwriting, to the music, to the Slavic Muppets themselves. I discovered that adapting the American children’s show in Moscow often pitted Sesame Street’s progressive values against three hundred years of Russian thought. The clash of divergent views about individualism, capitalism, race, education, and equality offered a window into the cultural discord and conflict between East and West that continues to dominate relations today.
As fascinating as the details of Rogoff’s story were (and they really were), I was most interested in what she writes in the afterword about how Ulitsa Sezam could never be made today , and I’m left wondering what the long-term (hopeful?) effects might be for this one generation of Russian children raised on Western “progressive values”. An “unexpected and crazy story” indeed.
March 1, 2023
Girl.
Girl.
What the hell was this fucking book? Can someone get me back 12 hours? I feel like I just fell into a livejournal from 2005? I don't know what this book is but I know it wasn't it.
Do you know what I wanted? I wanted an adventure in cross-cultural exploration. I wanted to look at post-soviet russia and into the Sesame Street corporation.
But I think I just got the tedious diary of a browbeat television producer who is way over her head and cannot take any responsibility.
We got SO MUCH insight into her personal life, into how she felt about the slings and arrows of her work life but like I wanted a book about the fucking muppets in Moscow. Girl, go get yourself a girl group chat and leave me along with this bullshit.
Also where is my Baba Yaga muppet???? Cause that is what I need.
Girl.
What the hell was this fucking book? Can someone get me back 12 hours? I feel like I just fell into a livejournal from 2005? I don't know what this book is but I know it wasn't it.
Do you know what I wanted? I wanted an adventure in cross-cultural exploration. I wanted to look at post-soviet russia and into the Sesame Street corporation.
But I think I just got the tedious diary of a browbeat television producer who is way over her head and cannot take any responsibility.
We got SO MUCH insight into her personal life, into how she felt about the slings and arrows of her work life but like I wanted a book about the fucking muppets in Moscow. Girl, go get yourself a girl group chat and leave me along with this bullshit.
Also where is my Baba Yaga muppet???? Cause that is what I need.
January 18, 2023
Sesame Street was not a part of my own childhood, but I watched it along with my son when he was young. As the book chronicles, during the years that we were watching, Sesame Street was being developed in Russia for their own young children. I never realized how strong of an impact Sesame Street made on me until I read this book.
The author, Natasha Rogoff, was a young woman herself when "The Children's Workshop" (as it was called back in the early 1990's) approached her to help them produce Sesame Street in Russia. The country was beginning to embrace democracy. It was thought that Sesame Street would be a good vehicle to provide both education and entertainment to Russia's children. What better ambassador for democracy could there be than Big Bird?
Rogoff had been working and living in Russia for ten years, making documentaries. Born and raised in the U.S., Rogoff was fluent in Russian and was thought to have contacts there. Little did Rogoff know just how difficult it would be to launch Sesame Street in Russia. It would take her and The Workshop five years of painstaking effort to achieve this. Rogoff would encounter all kinds of obstacles: mobsters, two would-be Russian producers getting assassinated, another Russian producer becoming bankrupt, and no less important, resistance from Russian entertainers and writers to many of Sesame Street's concepts.
Here are some things that touched me:
*When Rogoff played an American Sesame Street video that featured a child in a wheelchair happily talking to another kid, her Russian team gave her push-back. "We can't do that here," they told her. They explained that it would make their children too sad. At that time, disabled kids were bed bound, due to not being able to afford wheelchairs.
*When Russian child actors (ages 4-8) were auditioned for roles in the show, they all sang adult songs that were similar to dirges. Lyrics were all about war and loss. There was no Russian equivalent to "Twinkle, Twinkle, Little Star". "These are the songs our children sing with their grandmothers," Rogoff was told.
Slowly, after exposure to the ideals behind Sesame Street and much thought/disagreement among themselves, the Russian team was able to create their own authentic and culturally sensitive Russian version of Sesame Street called "Ulitsa Sezam".
This was such an interesting read. Recommended for those readers who enjoy cross-cultural experiences.
For those who might want to listen to the author discuss her memoir, here is the link. https://www.youtube.com/watch?v=ME6g6...
This is the Russian opening to their show. https://www.youtube.com/watch?v=pvS28...
The author, Natasha Rogoff, was a young woman herself when "The Children's Workshop" (as it was called back in the early 1990's) approached her to help them produce Sesame Street in Russia. The country was beginning to embrace democracy. It was thought that Sesame Street would be a good vehicle to provide both education and entertainment to Russia's children. What better ambassador for democracy could there be than Big Bird?
Rogoff had been working and living in Russia for ten years, making documentaries. Born and raised in the U.S., Rogoff was fluent in Russian and was thought to have contacts there. Little did Rogoff know just how difficult it would be to launch Sesame Street in Russia. It would take her and The Workshop five years of painstaking effort to achieve this. Rogoff would encounter all kinds of obstacles: mobsters, two would-be Russian producers getting assassinated, another Russian producer becoming bankrupt, and no less important, resistance from Russian entertainers and writers to many of Sesame Street's concepts.
Here are some things that touched me:
*When Rogoff played an American Sesame Street video that featured a child in a wheelchair happily talking to another kid, her Russian team gave her push-back. "We can't do that here," they told her. They explained that it would make their children too sad. At that time, disabled kids were bed bound, due to not being able to afford wheelchairs.
*When Russian child actors (ages 4-8) were auditioned for roles in the show, they all sang adult songs that were similar to dirges. Lyrics were all about war and loss. There was no Russian equivalent to "Twinkle, Twinkle, Little Star". "These are the songs our children sing with their grandmothers," Rogoff was told.
Slowly, after exposure to the ideals behind Sesame Street and much thought/disagreement among themselves, the Russian team was able to create their own authentic and culturally sensitive Russian version of Sesame Street called "Ulitsa Sezam".
This was such an interesting read. Recommended for those readers who enjoy cross-cultural experiences.
For those who might want to listen to the author discuss her memoir, here is the link. https://www.youtube.com/watch?v=ME6g6...
This is the Russian opening to their show. https://www.youtube.com/watch?v=pvS28...
March 9, 2023
I was looking forward to a deep explanation of an interesting case study for Muppets debuting in post-soviet Russia in the 90s. The political atmosphere and economic uncertainty of how this show was going to be funded is enough material to flesh out this book. I read in the acknowledgements that the editor encouraged the author to include personal experiences to make the story more interesting by adding more dialogue. I would disagree. If this is a reflection from thirty years ago how can one add dialogue to a reflection and have it reflect the same language choices from three decades prior? Reading this note and absorbing the story, it left a bad taste in my mouth and I cannot tell what is being paraphrased, what actually happened, and even though this choice did not impact the flow of the story...it created a huge challenge for me. It is also not charming to write out a Russian accent that you observed, it is patronizing. There are also moments where the author pushes heavily on placing American cultural facets and nuances into a post-communist Russia and is surprised that freedom of speech, Rock music, and individualism is wearily accepted. Is she new here? All of this I could have ignored, I would have otherwise given it three stars, but throughout the story the author details so much of her personal life that it annoyed me -- immensely.
I am not coming for anyone, clearly this is an experienced person with so much passion and love for Russia. I understand the necessity for describing her family life, how she interacted with her colleagues and how she navigated an extremely rough environment for launching Sesame Street in Russia. She wanted to write this out, but I would suggest she save all of the details to her friends and family. My interpretation for her choices and interactions (described above) within Russia really impacted my view of the author negatively. She sounds incredibly culturally insensitive and holds a superficial understanding of Russia. That is OK! You can still love a culture and not know so many nuances, but the way she scoffed at a colleague who didn't want to include Rock music made me side eye her reaction. Page 187 also mentioned that Russians want to feel melancholic and sorrowful for their harsh reality and the author doesn't know how to respond and thinks it is a terrible idea- that is SUCH an American response and angers me because she should know the difficulties within Russia!!!
The author also needed a serious editor to catch typos (and to reframe the construction of the book to take out her personal memoir). Just give the facts. Another item that is minor, but has me questioning the author's knowledge of Russian culture is her describing that the Lambada is a Mexican dance. Although I have no knowledge of Russian culture, I am familiar with Latin American culture; and I found it difficult to understand how she can say that the Lambada is a Mexican dance when it is Brazilian. So that leads me to doubt all of the information she is explaining to the reader. The post-script of Putin's Russia made me feel like an asshole for writing this review, but honestly, what a mess for everyone.
I am not coming for anyone, clearly this is an experienced person with so much passion and love for Russia. I understand the necessity for describing her family life, how she interacted with her colleagues and how she navigated an extremely rough environment for launching Sesame Street in Russia. She wanted to write this out, but I would suggest she save all of the details to her friends and family. My interpretation for her choices and interactions (described above) within Russia really impacted my view of the author negatively. She sounds incredibly culturally insensitive and holds a superficial understanding of Russia. That is OK! You can still love a culture and not know so many nuances, but the way she scoffed at a colleague who didn't want to include Rock music made me side eye her reaction. Page 187 also mentioned that Russians want to feel melancholic and sorrowful for their harsh reality and the author doesn't know how to respond and thinks it is a terrible idea- that is SUCH an American response and angers me because she should know the difficulties within Russia!!!
The author also needed a serious editor to catch typos (and to reframe the construction of the book to take out her personal memoir). Just give the facts. Another item that is minor, but has me questioning the author's knowledge of Russian culture is her describing that the Lambada is a Mexican dance. Although I have no knowledge of Russian culture, I am familiar with Latin American culture; and I found it difficult to understand how she can say that the Lambada is a Mexican dance when it is Brazilian. So that leads me to doubt all of the information she is explaining to the reader. The post-script of Putin's Russia made me feel like an asshole for writing this review, but honestly, what a mess for everyone.
October 14, 2022
As a grandfather of five all under the age of four I have become refamiliarized with Sesame Street. Grover, Big Bird, Cookie Monster, Bert, Ernie, and the gang dominated my household when my children were growing up and now I find myself reengaged as my grandchildren have become transfixed. When I came across the book, MUPPETS IN MOSCOW: THE UNEXPECTED CRAZY TRUE STORY OF MAKING SESAME STREET IN RUSSIA by documentary filmmaker and Harvard Fellow, Natasha Lance Rogoff my interest was piqued. Based on her own life story, Rogoff, the producer of the Sesame Street adaptation for Russia and Mexico is the perfect author to tackle such a subject. Based on her firsthand experiences, those of her colleagues, one of whom kept a daily journal of the process, interviews, documents and photographs, the memoir is deeply researched and well written.
In 1993 the Sesame Street Workshop hired Rogoff as the lead producer to adapt America’s most iconic television program for a Russian audience. Rogoff points out that for the United States who at the time was involved in assisting the former Soviet Union in its transition to a more representative process it was a means of making the Muppets ideal ambassadors to model democratic values and the benefits of a free market economy to a new generation of Russians. What surprised Rogoff the most was the resistance this would trigger in the post-communist state. The process was difficult and dangerous as Russia suffered threats of violence and assassinations seemingly on a daily basis in the early 1990s on Moscow television. Cultural battles ensued from scriptwriting to music, to the creation of the Slavic Muppets themselves.
Rogoff tells a remarkable story laying out the challenges in creating and producing Vilitsa Sezam. The clash of views centered on individualism, capitalism, race, education, and equality reflecting the ongoing cultural discord between East and West that is present each day. Rogoff held strong Moscow television connections having lived in the Soviet Union off and on for almost a decade. She realized it would be an arduous project in a country embroiled in chaos and factional power struggles. In the 1990s Russia was a country that was in political limbo, teetering between its communist past and an uncertain future under the corrupt government of Boris Yeltsin.
As Rogoff describes her creative journey she provides insights into the obstacles that a country emerging from its repressive authoritarian past presented for anyone who was perceived to be trying to alter the accepted way of doing things. The first major issue Rogoff faced was how to finance and produce a television program in a country with no reliable banking system, no established rule of law, and unstable currency. Funding did come from the United States Agency for International Development (USAID), but a Russian partner was needed. Russian oligarchs like Boris Berezovsky proved to be unreliable as did Russian television executives who were usually untrustworthy. The second major issue for Rogoff and her colleagues was the threat of violence and assassination exemplified by a 1995 coup attempt that saw the seizure of Workshop offices. Lastly, the difficulty of finding and hiring competent Russian professionals for the project who could work together and come to a consensus on a myriad of issues.
Along the way Rogoff encounters and works with a fascinating group of people. On the positive side were Vladislav Listyev, one of the most respected Russian television personalities until he is murdered. Midhat Shilov, the Director of Cultural Programming at Ostankino television. Robin Hessman, a brilliant twenty-two year old graduate from the VGIK Institute of Cinematography who would save the day on more than one occasion. Katya Komalkova, a classically trained musical composer who becomes the Director of Music. Dr. Anna Genina, Sesame Street senior vice-president of Global Education. Maria Rybasova, a creative set designer. Lastly, Volodya Grammatikov, Chief Ulitsa Sezam Director whose sense of humor is priceless. Other personalities were not as cooperative. Irina Borisova, the owner of Video Art, one of Russia’s top media firms made numerous promises dealing with funding and office space who did not deliver. Kolya Komov, a celebrated Russian puppet designer, insisted on using older Russian puppet ideas that did not fit the project. Lida Shurova, a television writer who refused to consider using American ideas and a host of others including Russian teachers and officials who were captive to older ideas emanating from the Soviet period and who feared any change that went against Russian cultural tradition.
The issue of cultural tradition fostered many roadblocks from designing new Muppets that did not conform to American ideals. After back and forth consensus was reached on characters such as Zeliboba, a large floppy figure who lived in a tree house exhibiting traits such as “compassion, sweetness, and a spiritual approach to life.” Businka, a female puppet, would be uncontrollable, impulsive, but loveable. Kubik, a puppet with outsized ambition and obstinance like a child. The problem was that Russian members of the team believed that Soviet children were typically reared to be silent, still, and obedient-the opposite of individualistic risk-takers and energetic pint-sized challengers of authority which the workshop hoped to convey. Gender issues and colors of puppets were finally overcome after months of debate overcoming decades of Soviet educational aims and including Russia’s diverse ethnic groupings that encompassed eleven time zones. The nature of Russian society made targeting an audience difficult - were sets to be rural, urban, socialist realism, Stalinist architecture, apartment complexes, historical sites, or some combination of all elements. Amazingly, Rogoff led her team in such a manner that most obstacles were overcome by assistance from the Children’s Workshop in New York, and Rogoff’s newly minted husband, Ken.
A key component and one of the most interesting aspects of the book involves puppet development, puppeteer training, and all the technical work that went into the project. It is fascinating as the Russian puppeteers are chosen and engage in the rigorous training that they must endure. On screen Muppets appear to move effortlessly, but Rogoff’s description provides the developing skill set that is needed to complete a successful performance. This aspect of the book is the most entertaining as one can see the satisfaction and camaraderie that develops among American and Russian puppeteers.
The difficulties Rogoff faced are exemplified by the concept of “sadness,” as Russian advisors insisted that for the program to be authentic it had to reflect this emotion which dominated Russian life and culture for centuries. Rogoff’s tale is one of perseverance and creativity that illuminates how even the most disparate cultures and perspectives can find common ground even while you marry for the first time and give birth to a child in the midst of all the danger. Regretfully, all the creativity, and sacrifice trying to take into account as many aspects of Russia’s past was destroyed by the Putin regime as the program which ran from 1996 to 2010 was cancelled.
In 1993 the Sesame Street Workshop hired Rogoff as the lead producer to adapt America’s most iconic television program for a Russian audience. Rogoff points out that for the United States who at the time was involved in assisting the former Soviet Union in its transition to a more representative process it was a means of making the Muppets ideal ambassadors to model democratic values and the benefits of a free market economy to a new generation of Russians. What surprised Rogoff the most was the resistance this would trigger in the post-communist state. The process was difficult and dangerous as Russia suffered threats of violence and assassinations seemingly on a daily basis in the early 1990s on Moscow television. Cultural battles ensued from scriptwriting to music, to the creation of the Slavic Muppets themselves.
Rogoff tells a remarkable story laying out the challenges in creating and producing Vilitsa Sezam. The clash of views centered on individualism, capitalism, race, education, and equality reflecting the ongoing cultural discord between East and West that is present each day. Rogoff held strong Moscow television connections having lived in the Soviet Union off and on for almost a decade. She realized it would be an arduous project in a country embroiled in chaos and factional power struggles. In the 1990s Russia was a country that was in political limbo, teetering between its communist past and an uncertain future under the corrupt government of Boris Yeltsin.
As Rogoff describes her creative journey she provides insights into the obstacles that a country emerging from its repressive authoritarian past presented for anyone who was perceived to be trying to alter the accepted way of doing things. The first major issue Rogoff faced was how to finance and produce a television program in a country with no reliable banking system, no established rule of law, and unstable currency. Funding did come from the United States Agency for International Development (USAID), but a Russian partner was needed. Russian oligarchs like Boris Berezovsky proved to be unreliable as did Russian television executives who were usually untrustworthy. The second major issue for Rogoff and her colleagues was the threat of violence and assassination exemplified by a 1995 coup attempt that saw the seizure of Workshop offices. Lastly, the difficulty of finding and hiring competent Russian professionals for the project who could work together and come to a consensus on a myriad of issues.
Along the way Rogoff encounters and works with a fascinating group of people. On the positive side were Vladislav Listyev, one of the most respected Russian television personalities until he is murdered. Midhat Shilov, the Director of Cultural Programming at Ostankino television. Robin Hessman, a brilliant twenty-two year old graduate from the VGIK Institute of Cinematography who would save the day on more than one occasion. Katya Komalkova, a classically trained musical composer who becomes the Director of Music. Dr. Anna Genina, Sesame Street senior vice-president of Global Education. Maria Rybasova, a creative set designer. Lastly, Volodya Grammatikov, Chief Ulitsa Sezam Director whose sense of humor is priceless. Other personalities were not as cooperative. Irina Borisova, the owner of Video Art, one of Russia’s top media firms made numerous promises dealing with funding and office space who did not deliver. Kolya Komov, a celebrated Russian puppet designer, insisted on using older Russian puppet ideas that did not fit the project. Lida Shurova, a television writer who refused to consider using American ideas and a host of others including Russian teachers and officials who were captive to older ideas emanating from the Soviet period and who feared any change that went against Russian cultural tradition.
The issue of cultural tradition fostered many roadblocks from designing new Muppets that did not conform to American ideals. After back and forth consensus was reached on characters such as Zeliboba, a large floppy figure who lived in a tree house exhibiting traits such as “compassion, sweetness, and a spiritual approach to life.” Businka, a female puppet, would be uncontrollable, impulsive, but loveable. Kubik, a puppet with outsized ambition and obstinance like a child. The problem was that Russian members of the team believed that Soviet children were typically reared to be silent, still, and obedient-the opposite of individualistic risk-takers and energetic pint-sized challengers of authority which the workshop hoped to convey. Gender issues and colors of puppets were finally overcome after months of debate overcoming decades of Soviet educational aims and including Russia’s diverse ethnic groupings that encompassed eleven time zones. The nature of Russian society made targeting an audience difficult - were sets to be rural, urban, socialist realism, Stalinist architecture, apartment complexes, historical sites, or some combination of all elements. Amazingly, Rogoff led her team in such a manner that most obstacles were overcome by assistance from the Children’s Workshop in New York, and Rogoff’s newly minted husband, Ken.
A key component and one of the most interesting aspects of the book involves puppet development, puppeteer training, and all the technical work that went into the project. It is fascinating as the Russian puppeteers are chosen and engage in the rigorous training that they must endure. On screen Muppets appear to move effortlessly, but Rogoff’s description provides the developing skill set that is needed to complete a successful performance. This aspect of the book is the most entertaining as one can see the satisfaction and camaraderie that develops among American and Russian puppeteers.
The difficulties Rogoff faced are exemplified by the concept of “sadness,” as Russian advisors insisted that for the program to be authentic it had to reflect this emotion which dominated Russian life and culture for centuries. Rogoff’s tale is one of perseverance and creativity that illuminates how even the most disparate cultures and perspectives can find common ground even while you marry for the first time and give birth to a child in the midst of all the danger. Regretfully, all the creativity, and sacrifice trying to take into account as many aspects of Russia’s past was destroyed by the Putin regime as the program which ran from 1996 to 2010 was cancelled.
January 21, 2023
Full disclosure: I started this book because a wife of a friend gave it to me.
Further disclosure: I continued and finished the book because it was exciting and interesting and insightful from beginning to end. (I listened to most of it on Audible.)
Natasha Lance Rogoff was recruited to executive produce Sesame Street (or Ulitsa Sezam as it was called there) in Russia in the early 1990s, a time that I remember well (and lived in Russia for a few months) for the hope and promise of democracy, capitalism and a broader liberal attitude.
The project sounds straightforward but it was anything but. Just the amount of effort and talent that goes into Sesame Street regular is impressive: the months designing and making the puppets and the set, the auditions that started with over one hundred people that narrowed down to four puppeteers, and need to find actors and write songs, and more. It's always interesting to read about the tremendous amount of expertise that goes into something in ways that you would never guess or observe from the end product.
But layer on top of all of this the unique challenges of operating in Russia. Natasha tries to secure funding from various oligarchs but car bombings, assassinations, and moral/political qualms keep getting in the way. Eventually she finds a funder but her funder keeps halting payment and no television station wants to take the show given the political uncertainty. At one point Russian soldiers invade the studio, kick everyone out, and actually steal Elmo. Other notable dramas include her bringing thousands of dollars into Russia stuffed in her bra and various other dramas.
Then there are the cultural differences: the children auditioning all sing sad songs about death in war, the Russian team is initially less interested in Sesame Street's multicultural tolerant messages, and other tensions over melding an American production and concept into something that is truly Russian.
But somehow it all comes together. And interspersed with it is a touching story Natasha and economist Ken Rogoff falling in love, getting married and having a baby--which basically arrives just as the show does.
The story never flags, you can feel the setbacks and excitement as it all comes together. But of course this is thirty years ago, as a series of postscripts make clear the show ended, it did not transform Russia, and most of the production team is now opposed to the Russian war--or left the country.
Still it leaves you with just a little hope--even if it is not the happy ending that we all wish had happened.
Further disclosure: I continued and finished the book because it was exciting and interesting and insightful from beginning to end. (I listened to most of it on Audible.)
Natasha Lance Rogoff was recruited to executive produce Sesame Street (or Ulitsa Sezam as it was called there) in Russia in the early 1990s, a time that I remember well (and lived in Russia for a few months) for the hope and promise of democracy, capitalism and a broader liberal attitude.
The project sounds straightforward but it was anything but. Just the amount of effort and talent that goes into Sesame Street regular is impressive: the months designing and making the puppets and the set, the auditions that started with over one hundred people that narrowed down to four puppeteers, and need to find actors and write songs, and more. It's always interesting to read about the tremendous amount of expertise that goes into something in ways that you would never guess or observe from the end product.
But layer on top of all of this the unique challenges of operating in Russia. Natasha tries to secure funding from various oligarchs but car bombings, assassinations, and moral/political qualms keep getting in the way. Eventually she finds a funder but her funder keeps halting payment and no television station wants to take the show given the political uncertainty. At one point Russian soldiers invade the studio, kick everyone out, and actually steal Elmo. Other notable dramas include her bringing thousands of dollars into Russia stuffed in her bra and various other dramas.
Then there are the cultural differences: the children auditioning all sing sad songs about death in war, the Russian team is initially less interested in Sesame Street's multicultural tolerant messages, and other tensions over melding an American production and concept into something that is truly Russian.
But somehow it all comes together. And interspersed with it is a touching story Natasha and economist Ken Rogoff falling in love, getting married and having a baby--which basically arrives just as the show does.
The story never flags, you can feel the setbacks and excitement as it all comes together. But of course this is thirty years ago, as a series of postscripts make clear the show ended, it did not transform Russia, and most of the production team is now opposed to the Russian war--or left the country.
Still it leaves you with just a little hope--even if it is not the happy ending that we all wish had happened.
May 31, 2022
I'd like to thank National Book Network and the publisher for allowing me to read this truly interesting and detailed story!
I love Henson, and I love his many contributions. I also enjoy when people have a story to tell. So, case being: there is a story to tell her and one that will interest Henson and non Henson fans. It should interest any one looking to try something when hope seems lost or when the odds are against you.
The author was chosen to launch Sesame Street in Russia because she spoke Russian and, well, they seemed to know no one who was. Though she knew a little about Sesame Street and Henson, I like to think she became a fan after this experience.
The story she tells of how she got pulled into the world of Children's Television Workshop and their goals was very interesting, fast, and mind-blowing. These days, it's a lot more harder and qualifications are more or less more firm.
This story was a real eye-opener for me, because I knew things were difficult during the fall of the USSR. Yet I had no idea how difficult it was behind the scenes, especially for something such as launching a TV show.
You get to meet the people that were pulled into her dream. Those who never worked for writing or producing children's television but all had the same goal: making people - this case, children - happy. It's what Kermit said in the Muppet Movie, he had a dream and it was to make people happy and he was looking for people to share in said dream.
You can feel the frustration, the hope and joy, even the sadness at some parts. But in the end, they gave Russia a show that made children happy and ran until Putin ended it.
I truly recommend this book for anybody who wants to see dreams come true and, like Kermit, want to make people happy.
I love Henson, and I love his many contributions. I also enjoy when people have a story to tell. So, case being: there is a story to tell her and one that will interest Henson and non Henson fans. It should interest any one looking to try something when hope seems lost or when the odds are against you.
The author was chosen to launch Sesame Street in Russia because she spoke Russian and, well, they seemed to know no one who was. Though she knew a little about Sesame Street and Henson, I like to think she became a fan after this experience.
The story she tells of how she got pulled into the world of Children's Television Workshop and their goals was very interesting, fast, and mind-blowing. These days, it's a lot more harder and qualifications are more or less more firm.
This story was a real eye-opener for me, because I knew things were difficult during the fall of the USSR. Yet I had no idea how difficult it was behind the scenes, especially for something such as launching a TV show.
You get to meet the people that were pulled into her dream. Those who never worked for writing or producing children's television but all had the same goal: making people - this case, children - happy. It's what Kermit said in the Muppet Movie, he had a dream and it was to make people happy and he was looking for people to share in said dream.
You can feel the frustration, the hope and joy, even the sadness at some parts. But in the end, they gave Russia a show that made children happy and ran until Putin ended it.
I truly recommend this book for anybody who wants to see dreams come true and, like Kermit, want to make people happy.
April 17, 2023
For Muppet fans, this a fascinating story on multiple levels - from all the specifics of getting Ulitsa Sezam off the ground and onto TV screens across the former Soviet Union, to all the hints into what makes up the the general process that goes into the making of the international coproductions of Sesame Street. I also quite enjoyed reading about the various culture clashes that occurred while trying to make the various aspects of Sesame Street (ranging from character design, to the music, to even the humor) translate over properly.
It all honestly makes me really yearn to see similar books detailing what went into the making of various other international versions of the show (Plaza Sésamo in Latin America, Baghch-e-Simsim in Afghanistan, etc). But in the meantime, as the only work on this general subject to exist for the moment, Muppets in Moscow is definitely one heck of a reader's ride.
It all honestly makes me really yearn to see similar books detailing what went into the making of various other international versions of the show (Plaza Sésamo in Latin America, Baghch-e-Simsim in Afghanistan, etc). But in the meantime, as the only work on this general subject to exist for the moment, Muppets in Moscow is definitely one heck of a reader's ride.
April 25, 2024
Dense with history and culture of post Soviet Union Russia and how capitalism via children's programming needed to find a place. Lots of great behind the scenes issues like funding, partnerships, character creation. Easy to see the overall weight of bringing a show to life in a new world.
April 29, 2023
I love books like this. They give you insights that you will never get from other non fiction sources. This one gives you more understanding of the Russian character and what was happening to ordinary people during the fall of the Soviet Union than any other books I've read on the subject even those that propose to be exactly that. All the while telling an amazing tale of how Sesame Street came to Russia.
Reading history from the side is truly the best way to gain a more nuanced view of it.
Highly recommended!
Reading history from the side is truly the best way to gain a more nuanced view of it.
Highly recommended!
March 27, 2024
This was so interesting! Focusing on one 'small' project is a neat way to better understand the bigger picture of 'what is Russia' in the 1990s.
February 2, 2024
I loved this book. After the breakup of the USSR, Natasha Lance Rogoff was hired in 1993 to create a Russian version of Sesame Street.
The US government saw the Muppets as a way of promoting our values to Russian children and some people in the Russian government agreed. Lance Rogoff had spent several years in school in Moscow, spoke Russian, and produced a documentary on music in Russia. She had never worked in children’s television before.
The Russian show would have 60 per cent local content, the same sort of ratio that had seen the format successfully exported to countries around the world. Things were not easy. It was one crisis after another. Contracts and financing were difficult to obtain. Oligarch Boris Berezovsky was a potential backer. While he was setting up a financial deal, his car was blown up and he went into hiding. He died in mysterious circumstances in exile in Surrey in 2013.
Another TV presenter who Lance Rogoff was working with was shot dead outside the channel’s offices.
Lance Rogoff was constantly dealings with corruption, tax demands made at a whim, lack of local funds and dealing with Russian artists who had a different vision of what the the Russian Muppets should look and sound like. There were so many cultural differences.
It was hard to believe but they barely succeeded on making their deadlines and the program was very successful.
Many people made it happen and Lance Rogoff skillfully tells about all the people who made it happen.
I read this again in January 2024. It was my choice for my book club.
The US government saw the Muppets as a way of promoting our values to Russian children and some people in the Russian government agreed. Lance Rogoff had spent several years in school in Moscow, spoke Russian, and produced a documentary on music in Russia. She had never worked in children’s television before.
The Russian show would have 60 per cent local content, the same sort of ratio that had seen the format successfully exported to countries around the world. Things were not easy. It was one crisis after another. Contracts and financing were difficult to obtain. Oligarch Boris Berezovsky was a potential backer. While he was setting up a financial deal, his car was blown up and he went into hiding. He died in mysterious circumstances in exile in Surrey in 2013.
Another TV presenter who Lance Rogoff was working with was shot dead outside the channel’s offices.
Lance Rogoff was constantly dealings with corruption, tax demands made at a whim, lack of local funds and dealing with Russian artists who had a different vision of what the the Russian Muppets should look and sound like. There were so many cultural differences.
It was hard to believe but they barely succeeded on making their deadlines and the program was very successful.
Many people made it happen and Lance Rogoff skillfully tells about all the people who made it happen.
I read this again in January 2024. It was my choice for my book club.
December 3, 2023
POV когда ты пытаешься запустить международное детское шоу в постсоветской россии среди неразберихи 90х.
December 28, 2023
Truly unlike any other book I”ve read and helps me understand a little bit more the events in Russia and Ukraine over the last year and a half or so - fascinating to see it all through the painted eyes of a Muppet. This just shows me that we will go to any length to teach our children to be kind, welcome and open…even in the places where those concepts seem in short supply.
October 13, 2023
Crazy interesting story about the obstacles to creating Sesame Street in Russia. Very engaging and fascinating cultural differences. Would recommend
July 3, 2022
Rowman and Littlefield will be releasing this book on October 15, 2022; I was able to read an early galley in exchange for this review.
As a child of the 70's, I grew up on the original seasons of Sesame Street. Therefore, the subject matter of this book was very intriguing to me. I found myself instantly captivated by Lance Rogoff's story. She presents the details of launching Ulitsa Sezam, the Russian version of the popular children's television show, in a refreshing and engaging way; at times, it was almost like reading fiction.
She does a wonderful job illustrating the cultural differences between America and Russia. With examples throughout the development process, she explains clearly to the readers how something that would work in one place would not translate as easily into the other. She also shows how she had to navigate in Russia as well as how her Russian team experienced their first brushes with American lifestyles.
Overall, Muppets In Moscow is a lesson of hope, cooperation and perseverance. These are exactly the types of things I had learned from the original Sesame Street as a child.
As a child of the 70's, I grew up on the original seasons of Sesame Street. Therefore, the subject matter of this book was very intriguing to me. I found myself instantly captivated by Lance Rogoff's story. She presents the details of launching Ulitsa Sezam, the Russian version of the popular children's television show, in a refreshing and engaging way; at times, it was almost like reading fiction.
She does a wonderful job illustrating the cultural differences between America and Russia. With examples throughout the development process, she explains clearly to the readers how something that would work in one place would not translate as easily into the other. She also shows how she had to navigate in Russia as well as how her Russian team experienced their first brushes with American lifestyles.
Overall, Muppets In Moscow is a lesson of hope, cooperation and perseverance. These are exactly the types of things I had learned from the original Sesame Street as a child.
March 3, 2023
Muppets in Moscow….AND ME!!!!
A memoir apparently. There are 2 storylines running thru this book. One was extremely fascinating - the story of bringing Sesame Street to Russia, and one was completely irrelevant - the author’s autobiography.
I was waiting for the 2 storylines to intersect in a way that made the story of her personal life connect but it never came together. I was actually personally turned off by a story of a woman who ground down her personal life for work. It’s not that inspiring. Maybe it was the time? I also could have done without her elitist attitude toward the food of Russia post soviet collapse. You gotta work with what you have.
Everything that was ON TOPIC was super interesting! I loved learning how everything was created and the challenges they faced from someone who was in the room. From the music to the design to the research and hiring, the politics and art plus everything in between will have you googling your fingers off! The descriptions where spot on and hopping on YouTube is a must.
A memoir apparently. There are 2 storylines running thru this book. One was extremely fascinating - the story of bringing Sesame Street to Russia, and one was completely irrelevant - the author’s autobiography.
I was waiting for the 2 storylines to intersect in a way that made the story of her personal life connect but it never came together. I was actually personally turned off by a story of a woman who ground down her personal life for work. It’s not that inspiring. Maybe it was the time? I also could have done without her elitist attitude toward the food of Russia post soviet collapse. You gotta work with what you have.
Everything that was ON TOPIC was super interesting! I loved learning how everything was created and the challenges they faced from someone who was in the room. From the music to the design to the research and hiring, the politics and art plus everything in between will have you googling your fingers off! The descriptions where spot on and hopping on YouTube is a must.
March 8, 2023
This ended up being more of a personal memoir of the author than a breakdown of how the Russian version of Sesame Street came to be. The author came across as culturally insensitive many times, constantly writing out her Russian colleagues accents deliberately and further reacting to assassinations of colleagues as “well this isn’t good for me” or “I’m glad I wasn’t there for that”.
The book is also in a major need of an editor with mistakes from punctuation to getting the names of the Muppets Bert and Ernie mixed up during explanations of the show. I also can’t get over how she introduced one of her coworkers by describing her as having a “wide face”. I would just about cease to exist to find out my coworker published a book describing me like that. Geez…
The book is also in a major need of an editor with mistakes from punctuation to getting the names of the Muppets Bert and Ernie mixed up during explanations of the show. I also can’t get over how she introduced one of her coworkers by describing her as having a “wide face”. I would just about cease to exist to find out my coworker published a book describing me like that. Geez…
August 19, 2023
I was immediately intrigued by the title of this book. I had grown up watching Sesame Street, and he’d love the characters and stories. But it never occurred to me that Sesame Street was being filmed in other countries as well. And I never thought of the challenges that would entail.
Natasha Lance Rogoff found her self, as basically an executive producer tasked with bringing Sesame Street and Russia to life. This book is basically her journal of events during that time. And I think with surprises me the most is while there was a strong team of supporters, dedicated to bringing Sesame Street to Russia, it seems like they were met at resistance and obstacles at every turn. And no one was on the same page with bringing this to life.
A legitimate concern that I really hadn’t thought of was that the Russians were concerned that the show would have too many American values or American cultural, references and mentalities. And I could see why that would be a concern especially if you’re trying to focus on Russian children and Russian values in Russian culture. One example that blew my mind was when Natasha suggested a scene where the kids had a lemonade, stand to show business and money exchange, which is relatively new in this communist society. And the Russians were appalled. the number one reason being selling some thing on the street is illegal. And in my mind it’s a lemonade stand. What’s the big deal but in Russia that’s absolutely unfathomable.
But throughout the retelling of this event, really, my take away was that this team persisted after innumerable challenges. In fact, it sort of puzzles me why they were so determined to continue when they received almost no support from Russia. They struggled with financers, broadcasters, writers, office, space, production, space, materials, paying workers, etc. on multiple occasions people they met with that were agreeing to help them were murdered. And I had a hard time understanding why Natasha, and some of her crew just didn’t walk away.
I found it very interesting reading about the Russian thoughts on how these Sesame Street skits and scenes should be played out. In terms of music, being classical versus contemporary. Or focusing on sad poetry instead of uplifting songs. Even down to girls being represented as obedient and quiet instead of lively and opinionated. I think it was impressive that Natasha and her team were able to educate themselves To make sure that they were focusing on the right things and delivering the right message to the children of Russia, and what they wanted the future to look like. It was painful, but I think they got there.
I’m happy to hear that Sesame Street was a success and aired for. I think they said 10 years before Putin took over and ruined everything. I think this is an interesting book and I’m glad I read it.
PS I think Natasha’s husband, Ken is a saint. She seemed single-mindedly focused on Sesame Street, and had almost no interest in her wedding or her child until both events were actually happening. And then to her credit, she was 100% in.
Natasha Lance Rogoff found her self, as basically an executive producer tasked with bringing Sesame Street and Russia to life. This book is basically her journal of events during that time. And I think with surprises me the most is while there was a strong team of supporters, dedicated to bringing Sesame Street to Russia, it seems like they were met at resistance and obstacles at every turn. And no one was on the same page with bringing this to life.
A legitimate concern that I really hadn’t thought of was that the Russians were concerned that the show would have too many American values or American cultural, references and mentalities. And I could see why that would be a concern especially if you’re trying to focus on Russian children and Russian values in Russian culture. One example that blew my mind was when Natasha suggested a scene where the kids had a lemonade, stand to show business and money exchange, which is relatively new in this communist society. And the Russians were appalled. the number one reason being selling some thing on the street is illegal. And in my mind it’s a lemonade stand. What’s the big deal but in Russia that’s absolutely unfathomable.
But throughout the retelling of this event, really, my take away was that this team persisted after innumerable challenges. In fact, it sort of puzzles me why they were so determined to continue when they received almost no support from Russia. They struggled with financers, broadcasters, writers, office, space, production, space, materials, paying workers, etc. on multiple occasions people they met with that were agreeing to help them were murdered. And I had a hard time understanding why Natasha, and some of her crew just didn’t walk away.
I found it very interesting reading about the Russian thoughts on how these Sesame Street skits and scenes should be played out. In terms of music, being classical versus contemporary. Or focusing on sad poetry instead of uplifting songs. Even down to girls being represented as obedient and quiet instead of lively and opinionated. I think it was impressive that Natasha and her team were able to educate themselves To make sure that they were focusing on the right things and delivering the right message to the children of Russia, and what they wanted the future to look like. It was painful, but I think they got there.
I’m happy to hear that Sesame Street was a success and aired for. I think they said 10 years before Putin took over and ruined everything. I think this is an interesting book and I’m glad I read it.
PS I think Natasha’s husband, Ken is a saint. She seemed single-mindedly focused on Sesame Street, and had almost no interest in her wedding or her child until both events were actually happening. And then to her credit, she was 100% in.
This entire review has been hidden because of spoilers.
January 21, 2024
This book was a Christmas gift from my wife, she knows how much I love the Muppets. It's a memoir from the executive producer of the Russian localization of Sesame Street, and outlines the incredible difficulties the team faced in importing and adapting a US television show to the recently disbanded USSR. There are many fascinating anecdotes that reflect the struggles within Russia to embrace change (or actively resist it), the psychology of why people were reluctant to embrace the program is eye opening. The story is well told and I enjoyed it. The book reminded me a lot of 'Game Over' by David Sheff, the story of the founding of Nintendo of America. I would say that it leaves me wishing for an approach where all of the major players are interviewed and their points of view examined, providing a fuller, documentary-style view of the story. But I do recommend the book if you like the Muppets or are interested in 'fish out of water' business stories.
March 4, 2024
I was predisposed to give this book a high rating as a I am a fan of the Muppets although I did not watch much Sesame Street growing up. I preferred The Electric Company. Anyway, the author's writing style made this book easy to read for me. I found the magnitude of the operation necessary to create a Russian Sesame Street amazing. I also found the hurdles encountered-including assassinations-surprising and shocking. I was apparently not paying attention to Russia at the time and had no idea how violent and chaotic it was. The information on how goals were created for Ulitsa Sezam as well as how they got the Russian Muppets and street scene determined really provided a picture of the Russian mindset coming out of the breakup of the USSR. I am actually a little surprised Ulitsa Sezam lasted for 16 years. I hope it achieved a few of the goals it was shooting for, although it is difficult to tell given the current state of affairs in Russia.
January 18, 2023
3.5 stars. I initially cringed at Lance Rogoff's cultural insensitivity, but then admired how she strove to bridge the cultural gap between the Americans and Russians working on Ulitsa Sezam. This book also seems to give a very good sense of the chaos and optimism of Russia in the mid-1990's. My favorite part of the book, however, was the actual production of the television show: the fights over values (e.g., capitalism, gender, ethnicity) to be conveyed in plot and song; the artistic development of the setting and characters.
March 6, 2024
This is so much more than about how Sesame Street reached Russia. This is about the climate and crisis exacted on people in a country trying to survive a massive cultural shift. It’s painful to hear how difficult it was to share education in a creative manner to children in an environment where it was unknown whether the executive you made a deal with would be alive the next day. While the show no longer exists, thanks to the current “leadership” in Russia, just the fact that these wonderful people preserved to create a bright spot in television is a story worth reading.
October 11, 2022
“Muppets in Moscow” is a fascinating book about the years-long journey of what it took to create and produce a Russian version of Sesame Street, Ulitsa Sezam. The author, Natasha Lance Rogoff, writes in vivid detail about how this was accomplished, in addition to providing an insightful perspective of 1990’s Post-Soviet Russia. Lance Rogoff does an excellent job of giving readers a behind-the-scenes view into the hearts and minds of all the people involved in Ulitsa Sezam.
October 17, 2022
My children - now 31, 29, and 26 - enjoyed watching the Muppets when they were young, so my family has been an admirer of the Muppets for a very long time. I thought Jim Henson and the Muppets were purely an American thing, though. After reading Muppets in Moscow, however, I discovered that isn’t the case. Muppets in Moscow is a thorough account of Natasha Lance Rogoff’s years’ long attempt – and ultimate success – to bring the joys of Jim Henson’s Muppets to Moscow, Russia.
January 19, 2024
I picked this up because I love Sesame Street, and I also have an interest in Russian history and culture. I enjoyed the parts of this book that focused on the actual making of the Russian Sesame Street (Ulitsa Sezam), especially the conversations the creators had about educational goals and the cultural differences between America and Russia.
However, a good chunk of this book was also the personal memoir of the author. According to this book, she met and married her now-husband and gave birth to their first child during the long process of making the show. I can see how, for her, these personal and professional milestones are inextricably linked. But I didn't need quite as much detail about her personal life, and wanted more analysis about what life was like in 1990's post-Cold War Russia.
The afterwords, which discuss the rise of Putin and the ongoing war in Ukraine, give a bittersweet tinge to the book, as it seems that the goals of Ulitsa Sezam (teaching tolerance, ethnic harmony, and the ideals of democracy) were ultimately unrealized.
However, a good chunk of this book was also the personal memoir of the author. According to this book, she met and married her now-husband and gave birth to their first child during the long process of making the show. I can see how, for her, these personal and professional milestones are inextricably linked. But I didn't need quite as much detail about her personal life, and wanted more analysis about what life was like in 1990's post-Cold War Russia.
The afterwords, which discuss the rise of Putin and the ongoing war in Ukraine, give a bittersweet tinge to the book, as it seems that the goals of Ulitsa Sezam (teaching tolerance, ethnic harmony, and the ideals of democracy) were ultimately unrealized.
March 8, 2023
This one hits closer to home as Rogoff begins the book and her Muppet adventure in Moscow in 1993--the same time I was in Moscow working my way through sophomore year at the Anglo-American School inside the embassy. Loads of fascinating issues and stories as Rogoff works through the wall of resistance in post-Soviet Moscow to get Sesame Street on the air.
January 11, 2024
This was a fascinating glimpse into the cultural differences between the US and Russia following the collapse of the Soviet Union. When a young filmmaker is asked to bring Sesame Street to Russian audiences in the early 1990's, the challenges mount over everything from finding writers and actors, to avoiding corruption in the sponsors. It was so interesting to see how both the US and Russian producers had to grow and change together to find a successful adaptation for Russian children.
March 17, 2024
I normally would have no interest in a history of television production in Russia thirty years ago, but Rogoff can deftly tell a rollercoaster story. I learned a lot about Russian culture. This could be a suspenseful movie if it were condensed. I say condensed because the book did begin to feel as long as the four years it took to produce Sesame Street in Russia.
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October 26, 2023I'm not sure how I came across this book - but an engaging story of trying to get Sesame Street off the ground in post-Soviet Russia (along with some personal transformation). The postscripts provide a somber coda to the story (the show was eventually cancelled, Russia today is Russia today etc.) that I'm still thinking about.
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