It felt like a time capsule had been opened in the backyard of a typical school near Moscow. The graduates, already familiar faces from the era, prepare to celebrate like it’s 1996 all over again. The hero of the story walks in a suit that swallows him, past a banner reading “Graduates of 1996, good luck.” Classmates mingle in elegant dresses and outfits sewn by their mothers. Girls wear bold makeup; boys await the upcoming disco. The only missing element is the pulsating beat of a familiar club anthem. A plot about a student and his romantic rival became an iconic soundtrack of that decade, a sign of how memory and youth intertwine.
Yet the holiday isn’t spoiled by the students themselves, but by local bandits the young heroes have encountered before. But first, the season unfolds.
No longer a child, not yet an adult
In the fresh season, the familiar cast steps closer to adulthood. Yesterday’s schoolchildren confront new life challenges as the backdrop shifts toward a future remembered two years ahead, landing at 1996 amid a presidential race marked by slogans like Vote or lose and questions about belief in the process. The era’s political climate becomes a frame for personal choices and their consequences.
Producers and screenwriters Pyotr Vnukov and Alexander Belov emphasize that the focus remains on the characters’ lives rather than on national upheaval. Sanka (Yegor Gubarev), who has tangled romantic history with Zhenya (Valentina Lyapina) over two seasons, is drawn into new love interests. Vovka (Yegor Abramov) faces the burden of young fatherhood, while Ilyusha (Fyodor Roshchin) discovers new developments that pull in his circle of friends and beyond.
Yura Borisov returns to the screen in the third installment, despite the dramatic close of the second season, which left audiences guessing about Alik’s fate. The creators hint that Borisov’s character, like a cat with nine lives, remains open to many chapters ahead. “Alik feels entirely new this season,” one artist notes, even as the team debates how recognizable he should remain to long-time fans.
“Alik is completely new this season. So much so that sometimes we even argue among ourselves so that it is not so new to the audience, so that the recognition effect is preserved,” the artist adds to the discussion.
New heroes, new challenges
Season three welcomes Yuri Kuznetsov, Varvara Shmykova, Evgeny Tkachuk, and Alexandra Khromova to the cast. Kuznetsov will inhabit the role of coach Alik, a mentor and father figure who guides the young players through turmoil and growth. The collaboration with Borisov has left a lasting impression, the actress explains, noting their prior work on the film Captain Volkonogov Fled, a project whose Russian release faced indefinite delays.
“Yura is a talented artist and a good person. His projects matter to him because he speaks to the world through his work. You can feel that in his approach,” Kuznetsov remarks.
The star of the latest project Execution, Yevgeny Tkachuk, steps into the role of a trickster figure who shifts from admiring Alik to seeking his spot in the hierarchy. Tkachuk explains that his character has faced early loss of parents and a shaky moral compass, which colors his interactions with others. He is drawn to the heroic moment he witnessed in the previous season, hoping to find his own meaning in life amid a country in flux. The series becomes a journey into identity, driven by the characters’ inner turning points rather than grand political arcs, Tkachuk adds.
Varvara Shmykova’s role remains under wraps, while Alexandra Khromova portrays a high school rocker whose journey continues the show’s musical thread. The project’s core soundtrack expands with the return of Mujuice, the main composer and electronic DJ, who helps sustain the show’s nostalgic yet vibrant musical identity.
More dramatic, absurd, and frightening
The writers acknowledge how recognizable 90s symbolism resurfaces through the plot, bringing in iconic youth references. One character channels the bold spirit of Bruce Khlebnikov, a legendary boy of the decade, capable of remarkable physical feats, while the familiar rooftop hangouts evolve into a simple bench—the new symbol of that era. New cast members intensify internal conflicts, with Tkachuk noting the story’s tilt toward more absurd and darker tones. The showrunners, Peter Vnukov and Alexander Belov, confirm that the characters’ growth remains a central challenge.
“This season explores the uncertainty about the future that many felt then. A new kind of evil emerges, and Alik and Sanya, who act as quasi-judges, must find fresh ways to seek justice. We aren’t aiming to dramatize every moment, but the thread runs through scenes that carry emotional weight,” Vnukov explains. The balance between hope and threat shapes the new narrative as the characters press forward into uncharted territory.