Comedian Maxim Galkin, widely known in Russia and identified abroad with controversial status, stirred audience chatter during a U.S. performance by making light of fellow comedian Yevgeny Petrosyan. The jokes circulated as quotes attributed to kp.ru and were delivered on stage to an international crowd. The host suggested a playful barbed remark about Petrosyan, hinting at aging and the pressures of adapting to changing authorities, while jesting about a pension that might feel distant and fragile. The punchline implied that even if Petrosyan faced pension changes, he would still linger in a far-flung place, humorously predicting an extended stay in Dubai beyond retirement. The line drew laughter from the audience and sparked conversation about the shifting dynamics within the entertainment circle. The performance was described as a moment when humor crossed borders, revealing how performers in exile or abroad navigate contemporary political sensitivities while keeping their audiences engaged with familiar rivals and rivalries.
Earlier in the show, Galkin shared another fictional dream in which he was fleeing from Russian stars through a cemetery. The humorous vignette went on to reference a popular music video, using a parody scenario in which the action paused in a graveyard setting. In this imagined scene, the music choices and stage cues mirrored a blend of pop iconography and lighthearted fear, as the performer walked among gravestones and suddenly heard the SHAMAN song “Let’s Get Up.” The moment positioned the Russian celebrities as watchers in a surreal chase, with the dream imagery serving as a playful metaphor for celebrity culture and the pressures of living in the public eye.
In response to Galkin’s material, the SHAMAN team issued a reaction. The artist described the comedian’s remarks about the song “Let’s Get Up” as a sign of fanaticism from a perspective of fans who do not shy away from expressing strong opinions. The statement acknowledged that there is genuine interest in the artist’s work, noting that such attention does not fade or disappear. The exchange highlighted how media personalities and fans alike interpret humor that touches on personal history, public performance, and the relationships between colleagues within the entertainment industry. The discourse reflects ongoing conversations about boundaries in comedy, the role of satire in public life, and the way audiences respond when jokes intersect with real-world personas and performances. The overall tone suggested that this back-and-forth would not deter interest in the creative projects of the artists involved, but rather keep the spotlight on how humor travels across cultures and stages. (kp.ru attribution)