Olga Motina-Suponeva

Guests are invited to the studio to have conversations with Andrey Malakhov, where they talk about their personal and professional successes, as well as anything else that interests them. Through these open discussions on air, viewers get a complete impression of the guest's life and their perspective on various issues.

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Estranged ex-lovers, Kostya and Kira are unexpectedly thrown together again when they're asked to collaborate as script-writers on a love-story set in a music school. The script focuses on teachers Rostislav (Dmitry Lysenkov) and Arina (Evgeniya Borzykh), who are caught-up in a difficult situation, made more complicated by Arina passing off a new colleague as her boyfriend to placate her demanding mother. The real and phoney relationships, both on and off-paper (or in reality or in the script), test all the characters, and examine themes of love, trust, sex, infidelity, friendship, responsibility as well as compatibility.

40-year-old Vika and Max, after 15 years of marriage, seem to have become one. In their ideal apartment with a designer renovation, only one thing is missing — a child. Everything changes on one fateful evening, when a friend Pasha, who returned from several years of living in Moscow, comes to visit the couple with a new friend Alice. After several glasses of wine, Max confesses to a friend that the couple wants to have a child, but he himself cannot have children, whereas Vika is completely healthy. Having learned the secret of new acquaintances, Alice, without thinking twice, offers Pasha to become a sperm donor and help out friends. This awkward offer should change their lives forever.

The relationship between the spouses Vika and Max has been cold for a long time, Max is not ready to lose Vika, so he is looking for different ways to return the former intimacy to the relationship with Vika. Max is even ready to have a child, but, unfortunately, he is infertile.

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A story of separation and reunion unfolding in an astronomers' village – a place where space isn't screened off by streetlights or the noise and bustle of the city.

The phrase "Children's hospice" causes many to be taken aback. People try to isolate themselves from extraneous problems, to close themselves off from someone else's grief. One day, fate brought Olga, a successful actress in the past, a mother with many children and a happy wife, to one of these hospices. What could have prompted her to give up her career and start giving all her warmth to other people's children? What inner spiritual motives make people become volunteers and is it so easy to take on someone else's pain?