During the late 2000s and early 2010s, the Umaturman circle repeatedly told STS viewers that life can sting and history can be rewritten in an instant. 0 Daddy9 s Daughters aired on screen for nearly six years, spanning 20 seasons and more than 400 episodes. While not the first original Russian sitcom, it became a watershed hit that reshaped the domestic television landscape. After this show, Russian producers gradually shifted away from adapting foreign favorites such as My Fair Nanny, Happy Together, and The Voronins, opting for homegrown formats that resonated with local audiences. The production assembled a remarkable roster 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 after the show first premiered, and the series had evolved considerably. The storyline opened with family tensions 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; by 2010, old frictions eased, a new generation arrived, and the program delivered its first major finale, gracefully wrapping up the characters’ lives. The series became a mirror of the family’s changing dynamics.
Vyacheslav Murugov, who was the general director of STS at the time, recalled receiving countless letters, calls, and requests to revive the Vasnetsov family tale on television. 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 debate), and a predicted second continuation mentioned at the end of episode 410 never materialized. In Murugov’s words, the project concluded, 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 show—a reflection on how memory and time shape family narratives.
In the pilot scene that opens with the line Mama left the Family chat, 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 family’s evolving relationships and the unease of aging as 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, exploring what happens when memories of the predecessor color the new narrative. The key question is not 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 moves from a gothic persona to a more conventional life path. Yet the reboot implies she may struggle to find a stable place as a wife and mother, challenging the long-standing image of the family’s 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 Dasha’s 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 mother’s role and made more narrative sense.
Yet the stubborn charm remains. The reboot managed to land back in a time that felt similar to 2007, a nostalgia that fans sometimes crave but rarely fully warrant. 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.
Nevertheless, 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.