Ukrainian television has been reshaped twice in a decade, and you can see both layers in the schedule. The first was the shift away from Russian-language production after 2014, when quotas pushed broadcasters to commission homegrown series, comedy and dubbed imports in Ukrainian. The second was the wartime reform that fused the main national channels into a single rolling news marathon, with a shared studio rotation and a common broadcast day. That united newscast still defines how many Ukrainians watch the war: one signal, one anchor desk, alternating between the participating broadcasters. Outside news, the market splits between general national networks, entertainment channels and a deep bench of cable and satellite feeds. Primetime means Ukrainian-made comedy and drama, plus locally voiced foreign series. Dubbing is the norm, and the Ukrainian dub is now a cultural marker in its own right: audiences argue about voice casts the way football fans argue about lineups. Russian-language content still circulates, but far less visibly than a decade ago. Talk television is a national sport. Long studio panels mixing politics, scandal and social commentary run nightly, and many of the sharpest ones migrated to YouTube-first formats where they set the agenda before television catches up. Talent shows, singing competitions and reality formats fill weekend evenings, often with a patriotic or revivalist framing. Sport is the other communal hearth. Domestic league football and international tournaments draw big national audiences, with commentary in Ukrainian and a strong second-screen culture on Telegram. Regional broadcasters matter too, carrying local news for oblasts that national bulletins skim. What sets Ukraine apart regionally is this mix of centralisation and fragmentation: one shared wartime news signal, and underneath it a plural, increasingly Ukrainian-language entertainment market finding its own voice.