The tone is set by the first story about the unlucky gatherings at the hostess’s birthday party (Katerina Shpitsa). There are three nervous witches and a couple of Ivanushka fools at a barely set table. The forces are unequal, and the “egg—bearers” are clearly uncomfortable here – the younger (Sergey Burunov) is making strained jokes, the older (Vasily Bochkarev) proclaims a toast to love. The speech is interrupted by the venomous remark of the “daughter”. However, the family ties for those gathered here are an absolute fiction: the performers are simply unable to play and portray a family feast, and therefore a given scandal; everyone is blowing for himself, “stuffing” the mise en scene with solo antics, barely playing back interest in a vis-a-vis. A belated “husband” (Pavel Derevyanko) is served “hot” to the table, but not alone, but with flowers and a gift. The first are accepted, the second is strongly rejected. Further, the appearance of the spouse is obstructed; the “sweet” man breaks away from the table and returns in his underpants in order to drink to the birth of his “beloved”. A silent stage, a curtain.
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It is significant that infantiles, somehow personifying the stronger sex, appear as public victims of collective abuse. Even more curious is the afterword — it turns out that the couple’s family life is based on a handful of fetishes. Every day, the wife packs her “doll” into “bows” — colorful costume ensembles prepared for the whole week, and the capricious one purposely confuses them, even panties, and also, spitting on the kitchen chores of the “mother”, gorges on dumplings with mayonnaise! The puppet couple is so passionate about imitating family misfortune that it is completely unclear what they earn, or to whom and why they gave up…
