In the late 2000s and early 2010s, the Umaturman group repeatedly told STS channel viewers that life can feel like a sting and rewrite history in an instant. 0 Daddy9 s Daughters stood on air for nearly six years, spanning 20 seasons and more than 400 episodes. While not the first original Russian sitcom, it became the breakthrough hit that changed the domestic TV landscape. After this show, Russian producers gradually shifted away from adapting foreign favorites such as My Fair Nanny, Happy Together, and The Voronins, choosing homegrown formats that resonated with local audiences. The program assembled a remarkable cast of television personalities over the years, including Vyacheslav Dusmukhametov, founder of Medium Quality and known for What Happened Then?, Evgeny Sobolev and Anton Kolbasov from University, Maxim Vakhitov from Interns, and Anton Morozenko of Slave fame.
The final episode of Daddye2a0s Girls aired in the spring of 2013, about a decade ago, and a lot had shifted in the series by then. The storyline began with family strife as Lyudmila Sergeevna left the family psychologist Sergei Alekseevich Vasnetsov and their daughters Masha, Dasha, Zhenya, Galina Sergeevna, and Pugovka. Later, the mother returned while the father exited; in 2010, old tensions eased, a new generation arrived, and the show delivered its first major finale, elegantly wrapping up the charactersa0lives. The series became a reflection of their evolving family dynamics.
Vyacheslav Murugov, who was then the general director of STS, recalled receiving numerous letters, calls, and requests to bring back the Vasnetsov family story to television screens. The project resumed for another three years. Over time, the reboot underwent changes: some characters faded away, the Vasnetsovs moved to the Moscow region, Galina Sergeevna met with a prince (a detail that fans still discuss), and a predicted second continuation mentioned at the end of episode 410 never materialized. In Murugov s words, the project was closed, but the best of their work lived on in new hits. The line about life releasing its sting and erasing the past remains a recurring motif in the show0a reflection on how memory and time shape family narratives.
In the pilot scene that opens with the line e2a0Mama left the Family chat,e2a0 the moment lands with a quiet, almost heartbreaking weight. Venik Vasiliev faces an upcoming wedding anniversary with his daughters Sonya, Lisa, Diana, and Arina, a moment that underscores the familya0s evolving relationships and the unease of aging while the social fabric around them shifts.
The core premise of the original Daddye2a0s Daughters centered on betrayal, a thread that carried into the reboot as well. The reboot revisits that theme, taking a look at what happens when memories of the predecessor color the new narrative. The central question isna0t whether the reboot repeats the script but who is given room to grow and who is sidelined. The bookish backstory around the daughters offered familiar turning points, including Dasha, who transitions from a gothic persona into a more conventional life path. Yet the reboot implies that she may struggle to find a stable place as a wife and mother, challenging the long-standing image of the familya0s dynamics.
The Vasnetsov family had long anchored the show: the father figure could be portrayed as naïve, perhaps too trusting, while Masha displayed impulsiveness, Galina Sergeevna pursued her own affairs, and Zhenya leaned into sports, with Pugovka as the youngest. Beneath Dashaa0s sharp exterior lay a deeply empathetic voice that understood abandonment in a way few could claim. In hindsight, any of the sisters might have taken the place of the runaway mothera0s role and made more narrative sense.
Yet the stubborn charm remains. The reboot did manage to land back in a time that felt similar to 2007, a nostalgia that fans sometimes crave but rarely fully warrants. The new episodes tried to stay faithful to the spirit of the original while experimenting with format, occasionally breaking away from a traditional teleplay. Some scenes feature the sisters bantering in ways that evoke the earlier seasons, while other moments seek to capture a modern sensibility that acknowledges changes in how relationships and family life are portrayed on television. The result is a show that, despite its flaws, still carries the mischief and warmth viewers remember, even as it wrestles with the weight of expectations from the past.
Nonetheless, the reboot faces a fundamental challenge: balancing homage with fresh storytelling. The Vasnetsovs remained vivid and memorable, each actor able to be summed up in a single, defining word. In contrast, the newer cast members have yet to cultivate that same level of iconic association. The reboot leans on nostalgia through cameos in the opening episodes, which, while entertaining, can feel burdensome when overused. The underlying issue is not simply a mismatch of eras but a question of tone and execution: a show that once thrived on a certain chemistry risks losing it when that same spark is filtered through a modern lens. It becomes clear that a program built on long-standing family bonds can still falter if it forgets the core impulse that made it beloved in the first place. The broader takeaway is that a reboot can keep a name alive, but it must stand on its own merits rather than rest on the echoes of the past.