Anna Kovalchuk

Valya and Khadyakov quarreled: the general made a big fight. And Valentina packed up and left Patricks for St. Petersburg. She decided to settle in the cultural capital, because her soul asks for high feelings and art, and Valentina Khadyakov tells her not to approach the cannon shot. The general drowns grief at work, now he is always on business trips: then at the factory, then in a private jet, then in a hotel, then in the Moscow office. Traveling around the country, they constantly try to get him and seduce him, but he gave himself a vow not to enter into a relationship. Meanwhile, Valentina continues to play music and conquer St. Petersburg.

No plot available for this tvshow.

The TV show is about the Godunov family, which covers the period from the reign of Ivan the Terrible to the accession of Mikhail Romanov to the throne.

1745. The reigning Empress Elizabeth Petrovna is infertile. The only heir is her feeble-minded nephew Peter III. Elizabeth cannot allow Peter to ascend to the throne, so she decides to marry the tsarevich, wait for the birth of her son, and then take the boy and raise him as a real Russian emperor herself. Brides are coming to St. Petersburg. Among them is the lovely Fike - the young Princess Sofia Frederica from the impoverished branch of the Prussian kings.

The story of admiral Aleksandr Kolchak who remained faithful to his oath to the Russian Emperor and fought against the Bolshevik rule after the 1917 October Revolution.

The Master and Margarita is a Russian television production of Telekanal Rossiya, based on the novel The Master and Margarita, written by Soviet writer Mikhail Bulgakov between 1928 and 1940. Vladimir Bortko directed this adaptation and was also its screenwriter.

In the center of the plot is a senior investigator named Masha Shvetsova and her male colleagues. The plot is the most vital, but, like in “Streets of Broken Lanterns,” it is seasoned with a fair amount of humor - otherwise, how can the audience (and the heroes) endure countless morgues, identifications and other “cute” charms of the investigative routine?