This study highlights the formation and evolution of television film in the former Soviet media space. Some boundaries are set from a historical point of view between the film that appeared during the commercial regime of competition and when there was only one “manager” of the televisual system. This study tries to give an answer to the question: “Why have film series become, in time, a true media phenomenon?”. Given the presented thematic axes and the arguments, the author believes that the television film always moved between two limits: art as a symbolic good and commercial interest, where marketing strategies are necessary.