In a detailed conversation with blogger Nadezhda Strelets, comedian and actor Sergei Svetlakov discussed a rift within the ProjectorParisHilton team that unfolded after Alexander Tsekalo married Darina Ervin. Svetlakov painted a portrait of a collaborator who gradually stepped back from the circle, cutting himself off from the group and from public dialogue. The comedian claimed that Tsekalo felt his personal life should be off limits to colleagues and that the tension arose when others continued to engage with his former wife, Victoria Galushka. The dynamic shifted as boundaries around personal relationships intersected with professional camaraderie, casting a shadow over what had been a close-knit project environment. [Source: ProjectorParisHilton interview with Nadezhda Strelets]
Svetlakov described a strain between the two sides that started to shape the tone of interactions long before the last public appearance of the group. He suggested that Tsekalo believed the coworkers should align themselves with his marriage, effectively drawing a line between his private life and the shared work story. Yet the team did not withdraw from Victoria Galushka, and they continued to communicate with her as a member of the broader creative effort. This choice stood in contrast to Tsekalo’s expectations, leading to a perception that the balance of loyalties was no longer simply professional but deeply personal. [Source: ProjectorParisHilton interview with Nadezhda Strelets]
According to Svetlakov, the divergence did not come from bitterness over professional decisions. Instead, it reflected a clash over who could be included in ongoing conversations and collaborative moments. He emphasized that the project participants valued respectful dialogue and openness, and they were not willing to sever ties with colleagues over private life matters. The actor went on to say that the team chose to maintain their relationships where possible, prioritizing a sense of camaraderie and mutual support. The narrative suggested that the impression of “either you are with me or with him” did not reflect the group’s approach, which aimed to keep lines of communication open. [Source: ProjectorParisHilton interview with Nadezhda Strelets]
Despite the unfolding friction, Svetlakov asserted that no lasting hostility existed within the ensemble. He stressed that the members tried to treat Tsekalo with fairness and kindness, hoping for a future reconciliation. In his view, goodwill persisted even as the personal rift created distance. He offered a forward-looking sentiment, wishing his former colleague happiness, patience, and financial stability, and inviting a hopeful reunion where past disagreements could fade into the background. The underlying message was one of resilience and professional respect that could outlast personal disputes. [Source: ProjectorParisHilton interview with Nadezhda Strelets]
The broader takeaway was a reminder that creative teams often navigate complex personal relationships alongside shared ambitions. Svetlakov hinted that he and others from ProjectorParisHilton would welcome the moment when experiences and grievances could be laid to rest, allowing the group to reassemble without lingering resentments. His reflections pointed to the possibility that time and open dialogue might heal rifts and restore a sense of unity among former colleagues. [Source: ProjectorParisHilton interview with Nadezhda Strelets]
Earlier remarks from Svetlakov had already hinted that some controversies around Kologrivoy may have been tied to strategic communications rather than solely to personal quarrels. The possibility that such scandals were leveraged as public relations moves adds another layer to the narrative worth considering when evaluating the events that shaped the project’s later chapters. [Source: ProjectorParisHilton interview with Nadezhda Strelets]