children of change

Yura. His informal, creative style: loose sweaters, old jeans, sometimes something vintage or "from someone else's shoulder" emphasizes his detachment from "cool" street standards.
Ruslan. The most utilitarian clothing of a teenager who survives: cheap tracksuits, jackets "to grow into", worn-out sneakers.
Sasha Lebed. Bright accents, frank but thoughtful images: minis, leggings, spectacular blouses, large jewelry - the style of the hostess of an underground club.
What dreams did the characters

have Dreams in the series reflect the split of the era: some want to "fit into the new time", others are trying to hold on to the fragments of the old world.

Peter dreams of opera: he goes to a vocal teacher and secretly wants to sing serious parts (for example, Herman's aria). This is his way of escaping from the cruelty of the street and keeping something "high" in himself.
Yura dreams of preserving art and culture: drawing posters, leading a club, not letting all this disappear. For him, it's not about fame, but about meaning — so that there is room for beauty in the world.
Flora dreams of keeping the family: so that her sons do not die, do not sit down, do not break. Her dream is not about success, but about survival and preservation of family ties.
Ruslan dreams of a simple thing: not to be a burden, to earn money so as not to ask his mother, and at least once to feel confident and needed.
Genrikh Pavlovich dreams of returning to his former life: the work of an engineer, respect, stability. But he understands that this is no longer possible, and this unfulfilled dream makes him a tragic character.
Viktor Samokhin dreams of remaining an honest policeman and not "bending" to the system, although reality constantly pushes him to compromise.
What people lacked in that era (and what does it mean for the characters)

Shortage in the 90s is not only about money, but also about the basic pillars that were crumbling.

Money and stability. Salaries were delayed, prices rose every day, and the usual ways of earning money disappeared. Hence the street economy: trade, "roof", quick schemes.
Safety. People did not feel that the state was protecting them

What clothes were in "Children of Change" (and in the 90s in general)

In the series, clothes are a marker of status, environment and even life strategy: it is immediately clear who is "spinning", who is holding on to the old, and who is trying to maintain dignity in poverty.

For guys and men:

Leather jackets and leather jackets. The main symbol of street coolness. In the "brothers" they are deliberately massive, with zippers and rivets.
Tracksuits. Chinese and Turkish Adidas and nameless analogues are the most popular clothes: comfortable, cheap, "in the know". They are worn by both boys from the district and those who sell at the market.
Jeans and straight-leg trousers. A more "status" thing: jeans could be a source of pride and an indicator that the family had at least some money.
Sweatshirts and sweaters with large knits. Practical and warm, they are worn both under a jacket and just like that.
Massive accessories. Thick chains, signets, watches-"cauldrons" are not about style, but about demonstrating status and belonging to a certain environment.
For girls and women:

Leggings and minis. Bright leggings (purple, crimson, acid shades) plus miniskirts or short dresses are a very recognizable image of the 90s.
Bulky knitwear was worn both as everyday clothes and as a way to hide the lack of wardrobe.
Denim jackets and skirts. Jeans was considered an "eternal" thing and was a sign that a person was trying to look modern.
Bright accessories and makeup. Large clips, plastic bracelets, expressive arrows and bright lipstick are a way to declare yourself when the rest of the "resource" is scarce.
Specifics by characters in the series:

Flora. Practical, restrained clothing for a trolleybus driver: dark trousers, comfortable jackets, a minimum of jewelry. In the second season, her style becomes tougher: more closed silhouettes, a strict cut - as a sign of her new status.
Peter. A mixture of street fashion and attempts to look "solid": a leather jacket over a T-shirt or sweater, sweatpants or jeans, a massive chain.
Yura. Informal, creative style: loose sweaters, old jeans, sometimes something screw

For creative guys (like Yura), it is kindness, gentleness, sincerity that are the main attractive qualities. It is important for him to have a person who does not devalue his dreams and knows how to support him with words.
In a family, kindness and care are the foundation. For Flora and her children, the ability to care for others is one of the most important qualities, because in difficult times, it is care that helps to stay afloat.
In criminal logic, a "too kind" girl can be considered "out of this world": she does not understand the rules of the game and can become vulnerable. Therefore, in such circles, the combination of kindness with inner strength and the ability to learn quickly is appreciated.

What feelings are valued (and which are considered "dangerous")

Appreciated:

Loyalty to family. Even if the paths diverge, the fact that you are "one of us" remains important.
Compassion and empathy. For Yuri, this quality is his strength: he notices someone else's pain and tries to help.
Pride and dignity. Do not humiliate yourself, do not do frankly mean things for the sake of profit.
Considered a "weakness" in the street environment:

Open tears and severe vulnerability. In the gang, this can be used against you.
Uncertainty and doubts. If you hesitate when making a decision, they stop trusting you.
Excessive softness towards "strangers". In criminal logic, softness towards the enemy is a risk for the entire group.
At the same time, the series shows that these "forbidden" feelings do not disappear: Peter hides them, Yura lives openly with them, and Flora turns her pain into determination.

What kind of support is

held Support in the series is held on different grounds:

Family. Flora supports her sons, even when she disagrees with their choice: she does not turn away, but tries to pull them out. This is support through action: feed, hide, give advice, sometimes harshly besiege.
"Street" support (by concepts). In a group, support is a guarantee of safety: you cover your friend's back, he covers yours. But it is conditional: if you break the rules, you are deprived of this protection.
Creative and friendly. Yura and Rodion support each other through common interests, conversations, joint projects. For them, this is a way to preserve themselves in difficult times.
Professional (or semi-professional). Viktor Samokhin, although a policeman, helps Yura, because he sees a "normal" guy in him and wants to preserve at least some island of justice.
Do they like kind and friendly girls Yes

, but they "love" and appreciate differently depending on the environment:In the street environment,

kindness should not look like weakness. A kind but confident girl (like Sasha Lebed) is perceived as a strong personality: she can be sympathetic, but at the same time she knows how to keep boundaries and not let herself be offended.

In Children of Change, values strongly depend on the environment: there are some rules on the street, others in the family, and still others in the creative environment.

What character qualities are

valued In the street and criminal environment (Peter, groups):

Strength and determination. The ability not to flinch in a conflict, to make a tough decision, to keep one's word. Weakness is read there as a vulnerability that can be exploited.
Loyalty to "one's own". If you are in a bundle with someone, you do not betray. It is the main currency in the groupings.
The ability to "keep face" and not show emotions. Tears, panic, open resentment are perceived as a sign of unreliability.
Pragmatism and the ability to negotiate. The ability to calculate the benefits, to get away from a direct clash in time, to find a compromise that will preserve your status.
In the family and the "home" world (Flora, Yura):

Resilience and responsibility. Not to whine, but to do: feed, protect, close holes in the budget, do not abandon loved ones. Flora is strong precisely because of this – she does not wait for help, she herself becomes a support.
Care and patience. The ability to endure fatigue, household problems and at the same time not to snap at those who are weaker.
The ability to hear and not devalue. For Yura, it is important that his work and dreams are not ridiculed, but at least not destroyed.
In a creative and intelligent environment (Yura, Rodion):

Sincerity and sensitivity. Here they appreciate the ability to see beauty in small things, not to hide experiences, to be honest with yourself.
Curiosity and passion. Interest in books, art, and music is a way to hold on to meaning when everything around you is collapsing.

What girls did you like in this setting (and how it is shown in the series)

The image of the "ideal" girl in the series is not the same - it is different for different social strata and ages:Strong, independent, daring.

Like Sasha Lebed, the owner of an underground club: bright, brave, knows how to take a punch. In the 90s, this type becomes especially noticeable: a woman does not wait for salvation, but builds her niche herself.
"Their own", street, pragmatic. Girls from the environment of groups and markets: they understand the rules of the game, know how to bargain, and are not afraid of tough conversations. For guys from this environment, it is not "innocence" that is important, but reliability and the ability not to let you down.
Intelligent, creative. For Yura, sincerity, and a general craving for art are important. He is closer to those who see the world not through force and money.
Traditionally, "homemade". For the older generation (and for some viewers), care, the ability to lead a household, and the support of the family are still valued — this is what keeps Flora as the center of the family, despite its rigidity.
In the fashion of the 90s in the frame: bright accents, minis, leggings, massive jewelry, expressive makeup - the image is "striking", because this is the time when appearance becomes a way to declare yourself.

What guys did you like (and what types are important in the series)

There are also several overlapping models, and the series confronts them:

"Defender" and "strong". For many girls from the street environment and markets, confidence, the ability to stand up for their own and not let anyone be offended are important. This is the very "romantic" image of a bandit, which both attracts and destroys.
A pragmatist who "knows how to spin". A guy who can get, negotiate, earn at least some money. In conditions when salaries are delayed, and products are becoming more expensive, the ability to "get out" becomes a real plus.
Creative, "not like everyone else". Yura is an example of this type: he does not get into fights, but he knows how to see beauty and support others. For those who are tired of the aggression of the street, such a guy is an island of calm.
A dreamer with an inner conflict. Peter is interesting precisely for his

What was considered valuable in "Children of Change" (and in the 90s in general)

In the series, the value of things and qualities is directly related to the era of total instability:

Money and "fast" resources. In conditions of hyperinflation and shortages, cash and the ability to get scarce goods became the main capital. Hence the meaning of the "roof": protection and access to the flow of money were valued above almost everything.
Connections and patronage. "Insider" in the police, in the market, in the administration is a real resource. In the series, this can be seen in the way the characters try to hold on to those who can "solve the problem".
Strength and reputation. In the street environment, authority and the ability to stand up for oneself are a currency that works where the laws do not work. For Peter and his entourage, reputation in the group is more important than formal diplomas.
Scarce goods. Tracksuits, sneakers, cassettes, household appliances, alcohol - everything that could be resold or exchanged had real value. Even the mere ability to "get" something was considered a skill.
Stability and security. For Flora and Yura, the value is not wealth, but the ability to simply survive and save the family. Hence the drama: some characters value strength and money, others value home and warmth.
Art and the "high" as a refuge. For Yura and Peter (in his secret dream of opera), culture is not about profit, but about meaning and salvation from the cruelty of the street. In the context of the 90s, this is almost a luxury.

Family and personal conflicts
Flora vs Peter. The most acute conflict: the mother is desperately trying to keep her son from crime, and Peter is getting deeper and deeper into the gang. In the second season, the confrontation becomes direct - Flora herself takes a place in the criminal hierarchy and actually confronts her son.
Different paths of brothers. Peter chooses power and money, Yura chooses art and honesty, Ruslan chooses survival and pragmatism. Because of this, misunderstanding and resentment flare up between the brothers every now and then: each believes that the other has betrayed family values.
Genrikh Pavlovich and Yura. A father who has lost his profession and broken down under the pressure of change cannot be a support for his son. Yura is drawn to him, but sees his weakness and dependence - this hurts and makes him grow up prematurely.
Street and criminal conflicts
The division of spheres of influence. The groups are fighting for control over markets, points of trade and "protection" for business. In these showdowns, people die, destinies are broken and old ties are destroyed.
"Concepts" against humanity. The gang has its own rules: loyalty, hierarchy, punishment for weakness or betrayal. Peter learns to live by these laws, and this constantly contradicts his personal feelings and dreams.
The police are between two fires. Viktor Samokhin tries to remain honest, but the system and the pressure of circumstances pull him to the dark side. His internal conflict is a reflection of the general discord between the authorities and society.
Conflicts of the
era The old world against the new. The House of Culture, circles and the former culture are trying to survive, but their resources are dwindling, and people's attention is switching to survival. Yura holds on to this island, but feels it disappear.
Money and morality. In conditions when "quick money" decides everything, moral guidelines are blurred: some characters justify crimes by necessity, others are desperately trying to preserve dignity.

Prices in the era of "Children of Change" (mid-90s)

In the series, prices are not discussed in detail, but they exactly correspond to the realities of the mid-90s - the time of hyperinflation and the transition to a market economy. If we rely on the historical context of that time (and on details such as trading in markets and in stalls that are in the frame), the picture is as follows:

Basic products. Bread could cost several thousand rubles (before the 1998 redenomination), milk and kefir - in the region of 3-5 thousand rubles per bottle, sugar - about 4-6 thousand rubles per kilogram. These are not "expensive" goods per se, but a consequence of the depreciation of the ruble.
Clothing and consumer goods. Chinese tracksuits, sneakers and other goods from the markets cost tens of thousands of rubles. For a family with a small income, this was a significant amount.
Services and transport. A trip in a trolleybus (like Flora's) cost a few hundred rubles - it was affordable, but with a modest salary, every penny counted.
Market and "quick money". At the Apraksin Yard and similar points, prices were set "by eye": they bargained, exchanged goods for goods, took them "for sale". It was not the fixed price that was more important there, but the ability to negotiate and sell on time.
The main conflicts in the

series Conflicts in "Children of Change" are multi-layered: they go along the family line, and along the street line, and along the line of the era.

Family and personal conflicts
Flora vs Peter. The most acute conflict: the mother is desperately trying to keep her son from crime, and Peter is getting deeper and deeper into the gang. In the second season, the confrontation becomes direct - Flora herself takes a place in the criminal hierarchy and actually confronts her son.
Different paths of brothers. Peter chooses power and money, Yura chooses art and honesty, Ruslan chooses survival and pragmatism. Because of this, misunderstanding and resentment flare up between the brothers every now and then: each believes that the other has betrayed family values.
Genrikh Pavlovich and Yura. A father who has lost his profession and broken down under the pressure of change cannot be a support for his son. Yura is drawn to him, but sees his weakness and dependence - this hurts and makes him

Locations: not just a background, but the character of the

era Trolleybus and depot (Vladimir). This is almost a separate character: Flora works as a driver, and her route No 3 (which really existed, but was closed in the early 2000s) becomes a metaphor for movement by inertia — the city is going, but not there. A real ZiU-682 was used for filming, and Victoria Isakova took a short driving course to look convincing behind the wheel.
Courtyards and typical buildings. In the series, "ceremonial" views were deliberately avoided: courtyards, entrances, garages, vacant lots were important — places where street connections and conflicts are formed. There are a lot of panels, shabby facades, old playgrounds in the frame: this emphasizes the feeling that the infrastructure is collapsing along with the usual way of life.
Apraksin Dvor (St. Petersburg). It was chosen for the trade scenes because of the labyrinth of tents and chaotic energy: this is not a market in the modern sense, but a spontaneous economy of the 90s, where the savvy survive. Even the crowd was partly made up of real sellers and buyers - this is how they achieved documentary authenticity.
"Nobody's" territories (Protvino). The beach near the flooded quarry is a space without rules: here you can hide, negotiate, escape or, conversely, become vulnerable. Such places in the series work as turning points in the fates of the characters.
Family apartment (Moscow, Chistye Prudy district). The old house gave the necessary contrast: inside - an attempt to preserve home comfort, outside - a feeling that the world is changing rapidly.

Locations

Plot-wise, the action is tied to Vladimir, and it is this city that has become the visual core. But in order to achieve maximum authenticity, the film crew assembled a "puzzle" of several places.

Vladimir. Most of the outdoor scenes were filmed here. In the frame are the streets of Mira, Dobroselskaya, Usty-na-Labe. They show a trolleybus depot and route No3 (it really existed, but was closed in the early 2000s). The white stone wall of the Assumption Princess Monastery on Knyagininskaya Street, Vokzalny Descent, the building of the Central Officers' Courses on Bolshaya Moskovskaya also flashes in the frame. The city in the series is not a ceremonial one, but with a tinge of decay: fading factories, typical courtyards, railway stations.
Moscow. The family's apartment, where the key dramatic scenes unfold, was filmed in an old house in the Chistye Prudy area. This added a special, almost theatrical flavor to the interiors.
St. Petersburg. Episodes related to the trade adventures of the youngest son Ruslan were filmed in the Apraksin Yard. This labyrinth of tents is the perfect decoration to convey the spirit of spontaneous entrepreneurship of the 90s.
Scenes in nature, for example, on the shore near a flooded quarry, were filmed here. Such "no-man's-land" territories have become the site of many significant events.
Other places. For the finale of the first season, the Serednikovo estate (near Zelenograd) was chosen.

Atmosphere

The main task is to convey the spirit of the mid-1990s: a turning point when old foundations were crumbling and new, often criminal, rules of the game were emerging. The contrast is felt in the series: on the one hand, the comfort of the hearth (family scenes in the apartment), on the other hand, the cruel reality of the streets: gangster showdowns, life "by concepts", corruption in the police.

Visually, the atmosphere is enhanced by details: leather raincoats, thick chains, VHS cassettes, audio players, specific signs on trade stalls. The color palette also works for the feeling of the era. On the whole, we get a painful, tense picture of a time when human life was worth almost nothing

Creates an accurate portrait of the 90s

Hits of that time immediately place the viewer in the right era. For example, "Black Moon" by Agatha Christie, "Diamond" by Alice Mon, "Don't Cry" by Tatiana Bulanova, "Clouds" by Ivanushek International and "The Crow" by Linda are cultural markers: upon hearing them, the viewer instantly reads "this is the 90s". Even the synthwave composition "Bad Weather" (Nastavševs & Lubennikov) to Pasternak's poems in the headpiece works as a stylized symbol of the Time of Troubles: it seems to be a modern adaptation, but with a sense of that very era.

Works for contrast and increases tension

The series often uses the technique of counterpoint: a harsh, gloomy scene is accompanied by a lyrical or "naïve" pop song. Because of this, the emotional effect becomes stronger: the viewer feels the dissonance between the external "lightness" of the melody and the heaviness of what is happening. So the music does not smooth out, but emphasizes the tragedy.

This is

especially evident in Pyotr's line: he lives in the criminal world, but dreams of opera and goes to a vocal teacher. His craving for high art is opposed to street reality, and this conflict sounds literally: next to the "gangster" aesthetics, references to classical music appear (for example, Herman's aria from The Queen of Spades). It turns out that the music shows that there is something more inside the hero than the role he is forced to play.

Yura, an artist and romantic, has his own musical optics: he is closer to experimental and informal music, which emphasizes his desire to see the world differently, not through the prism of power and money.

The younger brother Ruslan, who trades at the market and tries to survive, exists in the space of pop hits and mass culture - this reflects his down-to-earth struggle for a place in the sun.

Builds emotional memory and works for empathy

For viewers who remember the 90s, these songs evoke personal associations and make the story more personal. For a younger audience, tracks familiar from memes and remixes still carry an emotional charge

There are also other notable characters in the plot: Lev (Einstein, Artyom Koshman), who controls the trade in Chinese goods; Jean (Konstantin Plotnikov) is Flora's right-hand man and new lover, hiding his gambling addiction; Vera (Alina Dulova) is Flora's young assistant, fascinated by criminal aesthetics.
Appearance of the characters

Flora (Victoria Isakova) is a woman of about 45 years old, with a strong, strong-willed facial line. In the first season, there is a restrained, practical image of a trolleybus driver. In the second season, when she leads the group, her appearance becomes more rigid and domineering.
Pyotr (Slava Kopeikin) is a young man with sharp, strong-willed facial features. In the image of the bandit, there is a careless hairstyle, rough manners, sometimes - specific "street" clothes.
Yura (Makar Khlebnikov) is thin, with thin, dreamy features. In his clothes and hairstyle, there is artistry, informality, which emphasizes his craving for art.
Ruslan (Khetag Khinchagov) is a teenager, outwardly quite fragile, but with a stubborn expression on his face. In the scenes with trade, he wore simple, sometimes worn clothes.
Sergey Mikhalych Zhigalin (Timofey Tribuntsev) is a man with a harsh, even frightening appearance. A hoarse voice, harsh facial features, sometimes a careless, "bandit" appearance.
Viktor Samokhin (Kuzma Kotrelyov) is a strict, fit policeman. In clothing, there is a uniform or a restrained, "official" style.
Genrikh Pavlovich (Sergei Gilyov) is emaciated, with tired, sad eyes. At the beginning of the series, he is neat, but as the plot develops, his appearance increasingly reflects an internal crisis and alcohol addiction.
Rodion (Lev Zulkarnaev) is intelligent, with delicate, "bookish" facial features. There is something restrained, sometimes careless in his clothes, which emphasizes his detachment from the harsh reality.
Sasha Lebed (Sofia Lebedeva) is a bright, spectacular woman with expressive, bold features. In her clothes there are noticeable, sometimes provocative details corresponding to her role as the mistress of an underground club.

Flora (Victoria Isakova) is the mother of three sons from different fathers. He works as a trolleybus driver. A strong, strong-willed woman who struggles to keep her family in the chaos of the 90s.
Pyotr (Slava Kopeikin) is the eldest son. He is drawn into the criminal world, becomes the right hand of the authority Sergei Mikhalych Zhigalin. At the same time, he secretly dreams of becoming an opera singer - this internal conflict between the cruel reality and the craving for art becomes one of the key in his line.
Yura (Makar Khlebnikov) is the middle son, a romantic and a dreamer. He draws film posters, works in the House of Culture, leads a club. He is friends with librarian Rodion and policeman Viktor Samokhin. At some point, he falls in love with Sasha Lebed and tries to escape with her from the family chaos.
Ruslan (Khetag Khinchagov) is the youngest son, a teenager. He skips school, tries to earn money by reselling things (for example, Chinese consumer goods). He seeks the approval of his father and the attention of his mother. Later, when he learns that his brother killed his father, he thinks about revenge, but in the end, the light side prevails.
Sergey Mikhalych Zhigalin (Timofey Tribuntsev) is a crime boss, charismatic and dangerous. For Pyotr, he becomes a mentor in the street hierarchy.
Viktor Samokhin (Kuzma Kotrelyov) is a policeman, a friend of Yura. He tries to remain honest in a corrupt system, but circumstances drag him into dark deeds.
Genrikh Pavlovich (Sergey Gilyov) is Yura's father, a former engineer. After the closure of the plant, he takes the dismissal hard, sinks, and starts drinking. At some point, she gets closer to her son, even brings him paints and brushes.
Rodion (Lev Zulkarnaev) is Yura's friend, an intellectual librarian. He is looking for himself in poetry, is disappointed in the world, there is a lot of tragedy in his life.
Sasha Lebed (Sofia Lebedeva) is Yura's lover, the owner of an underground club. A bright, brave woman who lives according to the laws of the new time.
Lasha (Ruslan Bratov) is Flora's ex-husband, oh

What kind of crime is there?

The action takes place in the mid-1990s. Crime here is not just a background, but something that tears the family apart. In the frame:

Gangster showdowns for spheres of influence: groups divide business, there are bloody skirmishes.
Protection racket – bandits "patronize" business, forcing entrepreneurs to pay.
Corruption – the police are not always on the side of the law, some officers are involved in shady affairs.
Personal tragedies on the basis of crime - for example, Peter, drawn into a gang, commits cruel acts, including against loved ones.
At the same time, the series focuses not only on the action, but also on how these circumstances destroy family ties.

What kind of music?

The soundtrack is an important part of the atmosphere. The series features hits and cult tracks from the 90s, and the directors masterfully use music for counterpoint: sometimes the song contrasts sharply with the violent scene, increasing the drama. Among the tracks:

"Agatha Christie" ("Black Moon", "Miracles");
"Alice Mon" ("Almaz");
Tatiana Bulanova ("Don't Cry");
"Ivanushki International" ("Clouds");
Linda ("The Crow");
"Gaza Strip";
and also in the intro there is a synthwave composition "Bad Weather" (music by Vladislav Nastavshev and Ivan Lubennikov to lyrics by Boris Pasternak).

Vladimir: Most

of the outdoor scenes were filmed here. It is easy to recognize in the frame:

Mira, Dobroselskaya and Usty-na-Labe streets;
the white stone wall of the Assumption Princess Monastery (on Knyagininskaya Street);
Vokzalny Descent;
trolleybus stops near the Central Officer Courses (on Bolshaya Moskovskaya) and between the Chemical Plant and the Avtopribor plant (on Bolshaya Nizhegorodskaya).
They also filmed in the local trolleybus depot and on the real (now closed) route No3.
Moscow

: Flora's family rented an apartment in an old house in the Chistye Prudy area. This location added a special, almost theatrical flavor to the interiors.
St. Petersburg

Episodes with trade adventures (including scenes where Lasha trades) were filmed in the Apraksin Yard. This labyrinth of tents perfectly conveyed the chaos and spirit of spontaneous entrepreneurship of the 90s.

Some of the scenes were filmed on the city beach next to the flooded quarry. Such "no-man's-land" territories have become the backdrop for a number of important events.
Zhukovsky. Another point for filming in nature.
Serednikovo Estate (Khimki Urban District). She was chosen to shoot the finale of the first season.
Another detail

In the second season (filming in the summer of 2025), a new location was added - an abandoned monumental building of the 90s, which was called "Peter's Castle" in the materials for the series. There were also several night shifts.

Flora (actress - Victoria Isakova) is a mother of three sons, works as a trolleybus driver. A strong, strong-willed woman who is trying to keep her family in the difficult conditions of the 90s. In season 2, he actually becomes the head of the gang.
Peter (Petya) (Slava Kopeikin) is Flora's eldest son. He quickly gets involved in the criminal world, becomes the right hand of the authority, and later he himself occupies a strong position in the group. It combines toughness and a hidden creative side.
Yura (Makar Khlebnikov) is Flora's middle son, a romantic and a dreamer. He draws film posters, works in the House of Culture, leads a drawing club. Sensitive, drawn to art, friends with Rodion, close to policeman Viktor Samokhin.
Ruslan (Khetag Khinchagov) is Flora's youngest son. A teenager who is trying to survive: skips school, sells cheap goods. More down-to-earth and pragmatic than his brother Yura.
Sergey Mikhalych Zhigalin (Timofey Tribuntsev) is a crime boss, charismatic and dangerous. For Petya, he becomes a kind of mentor in the street hierarchy.
Viktor Samokhin (Kuzma Kotrelev) is a policeman, a friend of Yura. He tries to remain honest in a corrupt system, but circumstances drag him into dark deeds.
Genrikh Pavlovich (Sergei Gilev) is Yura's father, a former engineer who lost his job due to changes in the country. Sensitive, intelligent, the collapse of his former life.
Rodion (Lev Zulkarnaev) is Yura's friend, an intellectual, works in the library. It embodies a "bookish" view of the world, contrasting with the rough reality of the streets.
Sasha Lebed (Sofia Lebedeva) is Yura's lover, the owner of an underground club. Bright, brave, lives according to the laws of the new time.
Lasha (Ruslan Bratov) is Flora's ex-husband, Ruslan's father. He trades in the market, tries to stay afloat in the chaotic economy of the 90s.Karas
(Alexander Matrosov) - Petya's father, a former criminal, returns from prison. Brings an additional layer of criminal connections and old scores to the story.
Lev (Einstein) (Artyom Koshman) - Ruslan's friend

Tonya the Second (Irina Gorbacheva) is not to be confused with nurse Tonya: she is a saleswoman in a night stall near the station, where the younger ones from different groups gather; He feeds them sandwiches and at the same time collects rumors for the "elders".
Arkady Semyonovich (Vladimir Steklov) - deputy director of the market, Boris Petrovich's right hand; He is responsible for the "distribution of seats" and unofficial tariffs, he knows how to extinguish conflicts before shooting.
Dima-Cassette Player (Yuri Borisov) is a guy at a flea market, sells cassettes and pirate compilations, makes mixes for the Sasha Lebed club; knows all the underground music of the city and who stole what from whom.
Lyuda (Chulpan Khamatova) is not Lida's teacher, but her sister, she works in the library at the House of Culture; Quiet, inconspicuous, but it is through it that the children learn about old books that help them come up with legends for their "brigades".
Kostya the Monter (Dmitry Lysenkov) is not Tolik the Electrician: this installer at the traction substation lets the guys into the abandoned corridors, where they set up "headquarters"; He is laconic, does not meddle in business, but if he is asked to hide something heavy, he helps.
Galya-Second (Yulia Peresild) - not the saleswoman Galya from the stall, but her cousin, a dispatcher on a convoy; gives "windows" for night trips and sometimes covers Sergey with his hauls.
Valera Jr. (Alexander Yatsenko) is not the artist Valera: he is a kid from Ryaba's brigade, always wants to prove that he is "not just a messenger"; because of this, Fyodor Ilyich (Sergei Makovetsky), an old district police officer, still remembers the Soviet order, gets into trouble and often helps out his friends at the cost of his own reputation
; He tries to somehow keep the street in line, but understands that the strength is no longer the same, and increasingly relies on "street agreements".
Kolya-Bugor (Alexander Bashirov) is the senior in the brigade at the industrial zone; he does not like extra blood, but if necessary, he puts him firmly in his place; He treats young people as good-for-nothing nephews: he scolds, but also covers up.

Igor Petrovich (Igor Vernik) is the director of the House of Culture, trying to keep the institution afloat: he negotiates with bandits, knocks out funding, turns a blind eye to semi-legal parties.
Tolik the Electric (not to be confused with Pasha the Electric; played by Dmitry Lysenkov) works in the housing office, helps Sasha Lebed with equipment for the club: he installs amplifiers, repairs the lights, but asks not to expose his connection with the underground.
Valya (Valentina Mazunina) is a cashier at the trolleybus depot, Flora's best friend; He keeps her affairs secret, but constantly tries to "reason" and lead her away from crime.
Semyon (Semyon Shkalikov) is a mechanic at Uncle Vitya's depot, assembles motorcycles from spare parts; helps Ruslan and Lev (Einstein) with transport, but does not get involved in the showdown.
Lena (Elena Podkaminskaya) - editor of the city newspaper, Rita's boss; harshly filters materials, but secretly supports reports about the "human side" of the 90s.Yurka
(Yuri Chursin) is a boxing coach on another site, Yulik's competitor; He has his own school, more "commercial": he takes money, promotes fighters, sometimes negotiates with criminals about "ordered" fights.
Ira-Vtoraya (Irina Starshenbaum) — artist, curator of the circle at the House of Culture; argues with Lida about methods: Lida believes in "art as salvation", Ira believes in "art as a way to survive and sell".
Mityai (Mikhail Porechenkov) is the head of the market traders, not a bandit, but knows how to negotiate with the "roof"; covers the small ones until they begin to "play big".
Pasha-Kosoy (Pavel Derevyanko) is a petty authority on the outskirts, who keeps a couple of stalls and a parking lot; cunning, he knows how to seem harmless, but behind his back he arranges dark deeds.
Zinaida Mikhailovna (Nina Usatova) is the head nurse in the emergency room, the boss of Tonya and Zhenya; Tough, but fair, she turns a blind eye to "informal" stories if she sees that a guy really wants to leave the street.
Slavik (Alexander Pal) is a friend of Seryoga, a driver, who earns money by ferrying cars; knows all the bypass roads and traffic police posts, so he is often asked to "take out" something or someone.

Grisha (Alexander Robak) is a master at a motor depot, teaches young people how to repair cars; calm, laconic, but if necessary, he will stand up for his own people.
Klim (Pavel Tabakov) is a petty businessman, hanging around the market and stalls, always looking for where to hit an easy jackpot; He often gets into trouble because of his own greed.
Aunt Lyuba (Tatyana Kravchenko) is a cleaner in the House of Culture, knows all the nooks and crannies of the building; He covers the guys when they are hiding from the police or elders.
Oleg (Maxim Lagashkin) is a bartender in Sasha Lebed's underground club; He keeps neutrality, does not knock on anyone, but tells everyone everything - within reason.
Marina Viktorovna (Svetlana Khodchenkova) is the head teacher at the school where the younger friends of the main characters study; tries to keep teenagers away from the street, arranges additional classes and circles.
Sanya (Ivan Yankovsky) is a guy from a neighboring group, Ruslan's eternal rival in and out of the ring; He fights tough, but according to his own rules, without sneaky techniques.
Rita (Yulia Snigir) is a journalist of the city newspaper, writes about crime and life in the 90s; He collects rumors, but sometimes helps the heroes if he sees that the truth is more important than caution.
Uncle Kolya (Fyodor Dobronravov) is a market watchman, an old acquaintance of Lasha; He knows who pays how much for the "roof", and tries not to get involved in a showdown, but if asked, he will tell you where to hide.
Zhenya (Elizaveta Boyarskaya) is a nurse in the same hospital as Tonya; softer than Tonya, she tries to persuade the guys to leave the street, often persuading them just to "sit and talk".
Vitya-Radio (Gosha Kutsenko) is a seller of radio equipment and cassettes, keeps a point at the flea market; He always has fresh notes, gossip and a couple of tips on how not to get caught red-handed.
Kostya-Ryzhiy (Alexander Ilyin) is a fighter from Makhno's brigade, hot-tempered, acts on emotions; Because of this, he either helps his own people, or sets them up.
Shura (Yana Troyanova) is a saleswoman in a food stall near the bus stop, knows all the local teenagers by sight; Sometimes he hides the guys if they run away from the chase.

Vityok (Anton Vasiliev) is a small speculator, an acquaintance of Gena, hangs around the markets and resells scarce things.
Olya (Polina Agureeva) - Tamara's friend, a canteen worker at the depot; often feeds the children from Flora's entourage.
Tolik (Sergey Dvoynikov) is a petty bandit, runs on parcels from his elders, tries to earn authority, but always gets into trouble.
Zyoma (Pavel Tabakov) is one of the fighters of Makhno's group, sharp, without further ado, keeps to himself.
Nina Stepanovna (Olga Lapshina) is a janitor in the House of Culture, she knows everything about everyone, covers the guys, if she can, and sometimes gives them good advice.
Kostyan (Alexander Samoilenko) is the owner of a stall at the market, connected with several groups at once, tries not to quarrel with anyone and sells to everyone.
Sveta (Anastasia Krasovskaya) is a friend of Sasha Lebed, helps her with the club, is responsible for music and relations with DJs; He lives on adrenaline and parties.
Pasha the Electrician (Alexei Serebryakov) is a utility worker, who moonlights as a "problem solving" for small businessmen; He knows all the basements and attics of the city, often helps the heroes hide or arrange a secret meeting.
Aunt Zina (Nina Usatova) is a barmaid in the canteen near the market; he feeds everyone "on credit", but remembers every penny; For young people, it is almost like a grandmother, and for bandits it is a source of rumors.
Sergey (Alexander Pal) is a minibus driver, Ruslan's friend; drives the children around the city, sometimes covers them if he sees a chase; He tries not to get involved in crime, but because of his connections, he always gets involved.
Katya (Aglaya Tarasova) - assistant to Boris the producer, organizes concerts; pragmatic, quickly calculates with whom it is profitable to be friends, and who is better to avoid.
Yulik (Yuri Borisov) - Ruslan's boxing coach; tough, but fair; She tries to keep the guy out of the street, although she understands that the times are not the same.
Tonya (Irina Gorbacheva) - a nurse in the emergency room; he often sees the consequences of showdowns, does not knock on anyone, but does not hide his contempt for the "boys"; He secretly helps those who are in trouble.

Flora (Victoria Isakova) is the mother of Pyotr, Yura and Ruslan, a trolleybus driver; In the 2nd season, he is the leader of the gang.
Pyotr (Petya) (Slava Kopeikin) is the eldest son of Flora, Mikhalych's right hand, and later the head of the gang.
Yura (Makar Khlebnikov) is Flora's middle son, an artist, the head of a children's drawing club, a member of Peter's gang.
Ruslan (Khetag Khinchagov) is Flora's youngest son, a boxer.
Sergey Mikhalych Zhigalin (Timofey Tribuntsev) is a crime boss.
Viktor Samokhin (Kuzma Kotrelyov) is a policeman, Yura's friend; later he becomes a killer.
Genrikh Pavlovich Bulkin (Sergey Gilyov) is Yura's father, an engineer, and a hypnotist in season 2.
Valera (Alexander Yatsenko) is a singer and artist.
Lev (Einstein) (Artyom Koshman) is Ruslan's friend, businessman, founder of the organization "Help Your Neighbor".
Rodion (Lev Zulkarnaev) is Yura's friend, an intellectual librarian.
Salnikov (Artyom Bystrov) is the head of the Internal Affairs Directorate.
Lipchuk (Denis Paramonov) is a policeman involved in corruption schemes.
Sasha Lebed (Sofia Lebedeva) is Yura's girlfriend, the owner of an underground club.
Anna (Umka) (Daria Matveeva) is a photo artist, first Victor's girlfriend, then Peter's.
Lasha (Ruslan Bratov) is Flora's ex-husband, Ruslan's father, a merchant at the market.
Karas (Alexander Matrosov) is Peter's father, a criminal.
Boris (Andrey Maksimov) is a music producer.
Ryaba (Philip Dyachkov) is a bandit from Mikhalych's group.
(Konstantin Plotnikov) - Biker, Flora's lover (appears in season 2), killed by Makhno's gang.
Marina (Anna Snatkina) is Rodion's mother.
Nadezhda Markovna (Tatyana Orlova) is the mother of Sergei Mikhalych.
Kostya (Daniil Vorobyov) is a bandit associated with criminal showdowns in the city.
Gena (Maxim Stoyanov) is a petty criminal dealer, an intermediary between groups.
Tamara (Elena Morozova) is Flora's colleague at the trolleybus depot, helping her stay afloat.
Igor (Alexander Golubev) is a bandit, one of Makhno's confidants.
Pasha (Nikita Tarasov) is the administrator of an underground club, helps Sasha Lebed with the organization of parties.
Lyudmila Petrovna (Elena Yakovleva) — head of the trolleybus